Materials for the ____
Below are extracts of the four submitted works along with a link to a separate page with programme notes, complete recordings and further details.
The pieces chosen reflect some of my most ambitious chamber ensemble work (Three Rituals on Metal & Sextet) as well as music written for amateur performers (Noster Cetus) and an approach to combining electronics with instruments (Nocturne No.1).
1) Sextet [four extracts totalling 3'] - i) [ D ] - [ E ] ii) bar 20 - 26 iii) bar 45 - 52 iv) bar 30 - 43
2) Three Rituals on Metal [two extracts totalling 3' 43''] - i) Mvt. 2 bar 1 - 34 ii) Mvt. 3 bar 31 - 63
3) Noster Cetus [two extracts totalling 7' 21'' ] - i) bar 29 - 53 ii) bar 88 - end
4) Nocturne No. 1 [one extract totalling 2' 43'' ] - i) bar 66 - 88
Sextet was written for Ensemble Musik Fabrik and we developed the piece together in workshop. I was specifically asked to explore their wide palette of extended techniques which lead to much fun in workshop defining exactly what sounds should be produced and how it should be notated.
Three Rituals on Metal
(percussion quartet playing only metallophones)
Three Rituals on Metal was developed whilst on a residency at the Eastman School of Music where, over three months I collaborated with Eastman Percussion Quartet honing the intricate playing techniques and ensemble choreography needed for this piece.
Noster Cetus was written for an amateur choir with whom I had six development sessions over two months. I remain pleased with its emotional intensity and with the technical achievement of making quite extreme textures singable for amateur singers who had never performed new music before.
Nocturne No. 1 was the main purpose of my time whilst resident at the Eastman School of Music. I spent three months working very closely with the guitarist Tom Torrisi. This piece has become my most performed work and was key in developing how I approach collaboration. It also developed my approach to really integrating electronic sound with instrumental. This is largely compositional aesthetic but it did entail some technical solutions, from creating carefully descriptive notation to developing a performance interface that felt intuitive and musical and that was simple and reliable.