a passing colour duo for two flutes Dedicated to Sean Quinn This is a timecode-supported polytemporal composition. Program Note: There is no programmatic intention in what unfolds as sound in this piece: any or no relationship to the title and the sounding music is forged at the discretion of the composer, performer and listener. Despite…
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Dedicated to my friend and composer, Jason Eckardt. This is a timecode-supported polytemporal ensemble piece. the unimportance of events for 17 players Instrumentation: alto flute clarinet in Bb bassoon tenor trombone 1 tenor trombone 2 percussion (1)* piano violin string quartet 1 string quartet 2 Double Bass Duration: 12.02 Want to know more about timecode-supported polytemporal…
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the shape distance are a series of (initially) seven pieces constructed somewhat akin to ‘Russian Dolls’ in that each contains the same or similar core material that is ‘enclosed’ by other layers of material. The core music is represented by two solo pieces that although composed in isolation contain strongly related material. the shape distance [9]…
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Dedicated to Ensemble Suono Giallo This is a timecode-supported polytemporal ensemble piece. Instrumentation: for piccolo, soprano saxophone, piano and percussion. Duration: 12.30 minutes Commissioned by Ensemble Suono Giallo, premiered on the opening night concert of the Il Suono Young Composers’ Academy by Ensemble Suono Giallo, Saturday, July 15, 2017, at 7 pm, Scuola Comunale di Musica…
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For Flute, 2 violins, viola, violoncello and double bass | duration 12 minutes | dedicated to Grainne Mulvey an uncomfortable condition is commissioned by La Côte Flûte Festival 2016. It received its first performance with ‘zero theorem’: Carla Rees [flute] Minsi Yang Johnson & Nuno Carapina, violins, Stephen Upshaw, viola, Patrick Tapio Johnson, cello and…
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Trio for open-holed or kingma system quartertone alto flute, bassoon and violin Written for Rarescale and dedicated to Charles Morgan Lines | duration circa 7 minutes Composer-in-Residence to the Observatory: 4 site-specifically inspired string quartets across four residency locations in two years: As a composer and painter, I have a deeply held interest in the…
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observation 1.7 for flute and oboe [duo] with optional violin [trio] | duration 12.40 | dedicated to Ben Opie observation 1.7 is designed to be two pieces within one; a duo for flute and oboe or a trio for flute, oboe and violin using the same parts for flute and oboe in both duo and…
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the pictographs of emmanuel domenech for 2 flutes, oboe/cor anglais, bass clarinet, contrabassoon, violin, viola, violoncello, harp, and percussion [3]* *deep, resonant bass drum; 5 tom-toms ranging from low to high; 2 large, deep tam-tams; 5 differently pitched resonant wooden objects ranging from low to high [non-specific boxes, barrels, bowls, planks, logs etc.] or 5…
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Spring-heeled Jack [terror of London] | Duration: circa 1.5 minutes | Dedicated to Carlton Vickers Tempi are [probably] faster than is practical so as to encourage a sense of frantic urgency within the performance. The flautist may perform all or any part of this fragment. A few months ago, US flautist Carlton Vickers approached me…
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dark gravity [3]: for flute, clarinet in Bb, and bassoon. c 12″ minutes in duration. notes: The instrumentalists play independently of each other. The ensemble is cued by the bassoon at rehearsal mark 1. There is no ‘fixed’ synchronisation between the instrumentalists. Whilst the relationship of each instrument is flexibly placed against its neighbour, care…
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the shape distance [14] flutes 1 + 2 / Clarinets 1 + 2 / Violas 1 + 2 / harp / percussion (1) Dedicated to Caleb Herron and Chamber Cartel (Atlanta USA) The Shape Distance by Chamber Cartel the shape distance are a series of [initially] seven pieces constructed somewhat akin to ‘Russian Dolls’ in that each…
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remembering Déjà vu duration: circa 13 minutes Note about the title: Déjà vu, (/ˌdeɪʒɑː ˈvuː/) from French, literally “already seen”, is the phenomenon of having the strong sensation that an event or experience currently being experienced has been experienced in the past, whether it has actually happened or not. The psychologist Edward B. Titchener in…
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the half-life of facts: for flute, bass clarinet in Bb, violin, violoncello, piano. circa 15″ minutes in duration. the half-life of facts [flt., BCL., Vln., Vc., Pno – 15 minutes] commissioned by the Australian new music group, ‘Syzygy Ensemble‘ was premiered on May 6th. at the Melbourne Recital Centre as part of the 2015 Metropolis New Music…
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the moon upright: for flute, oboe, and clarinet in B flat. circa 12 minutes in duration. notes: The instrumentalists play independently of each other. Music is cued to begin only with both instruments starting at the same time. There is no ‘fixed’ synchronisation between the instrumentalists. Whilst the relationship of each instrument is flexibly placed…
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streaming for Kingma Quartertone and open-holed system Alto Flutes | Dedicated to and commissioned by Carlton Vickers. Duration: circa 22 minutes To me, the greatest compliment I can pay a composer is after the premiere, and I feel I’ve known their piece my entire life. Obviously, a rare, if not, unheard of occurrence, unless you are…
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for piccolo, tenor saxophone, electric guitar, electric bass guitar, keytar, vibraphone and drum-kit. Duration: 7.5 minutes Commissioned by Clibber Jones Ensemble [US] …
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uncertainty principle [the shape distance 9] instrumentation: 2 flutes | duration circa 11 minutes. The Shape Distance by Chamber Cartel uncertainty principle extends the recent series of unsynchronised works the shape distance, a series of seven pieces constructed somewhat akin to ‘Russian Dolls’ in that each contains the same or similar core material that is…
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Thought experiments [the shape distance 8] instrumentation: flutes 1 + 2 / piano | duration circa 13 minutes. Posthumously dedicated to my friend Bernadette Healy thought experiments extends the recent series of unsynchronised works the shape distance, a series of seven pieces constructed somewhat akin to ‘Russian Dolls’ in that each contains the same or…
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the shape distance [1] flute 1 / clarinetDedicated to Adam Starkie The Shape Distance by Chamber Cartel the shape distance are a series of [initially] seven pieces constructed somewhat akin to ‘Russian Dolls’ in that each contains the same or similar core material that is ‘enclosed’ by other layers of material.The core music is represented by two…
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the shape distance [2] flute 1 / clarinet / piano Dedicated to Caleb Herron and Chamber Cartel (Atlanta USA) the shape distance are a series of [initially] seven pieces constructed somewhat akin to ‘Russian Dolls’ in that each contains the same or similar core material that is ‘enclosed’ by other layers of material. The core music is…
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the shape distance [3] flutes 1 / clarinet 1 + 2 / viola / harp / piano Dedicated to Caleb Herron and Chamber Cartel (Atlanta USA) The Shape Distance by Chamber Cartel the shape distance are a series of [initially] seven pieces constructed somewhat akin to ‘Russian Dolls’ in that each contains the same or similar core…
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the shape distance [4] flutes 1 + 2 / harpDedicated to Caleb Herron and Chamber Cartel (Atlanta USA) The Shape Distance by Chamber Cartel the shape distance are a series of [initially] seven pieces constructed somewhat akin to ‘Russian Dolls’ in that each contains the same or similar core material that is ‘enclosed’ by other layers of…
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the shape distance [5] flutes 1 + 2 / clarinet / viola / percussion (1)Dedicated to Caleb Herron and Chamber Cartel (Atlanta USA) The Shape Distance by Chamber Cartel the shape distance are a series of [initially] seven pieces constructed somewhat akin to ‘Russian Dolls’ in that each contains the same or similar core material that is…
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the shape distance [6] flute 1 / clarinet / harp / percussion (1) Dedicated to Caleb Herron and Chamber Cartel (Atlanta USA) Chamber Cartel premiere recording of Marc Yeats’ ‘the shape distance [6]’ for flute, clarinet, viola, harp and percussion [1] This track does not appear on ‘the shape distance’ CD and download album, but there…
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the shape distance [7] flutes 1 + 2 / clarinet / viola / harp / piano / percussion (1)Dedicated to Caleb Herron and Chamber Cartel (Atlanta USA) The Shape Distance by Chamber Cartel the shape distance are a series of [initially] seven pieces constructed somewhat akin to ‘Russian Dolls’ in that each contains the same or similar…
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the golden apple of discord Instrumentation: Flute Viola Harp. Duration: circa 12 minutes. context: the golden apple of discord is a development [especially through the addition of new material for harp] of the original duo for flute and viola, titled ERIS being the Greek goddess of strife and discord. The Golden Apple of Discord (Greek: μῆλον τῆς Ἔριδος)…
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For Flute solo | duration circa. 11 minutes | dedicated to Jenni Hogan A piece that explores aspects of transformation, transmutation and alchemy in sound with a liberal helping of self-referential flux!‘a theft of cold moisture’ continues the journey away from material found in ERIS (flute part) and laterly, ‘lines and distances’ for solo clarinet,…
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for quartertone alto flute | dedicated to Carla Rees | duration: variable We have also divers strange and artificial echoes, reflecting the voice many times, and as it were tossing it:and some that give back the voice louder than it came; some shriller, and some deeper, yea, some renderingthe voice differing in the letters or…
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Duet for flute and viola. Commissioned by Manchester Pride Chamber Concert Series. Premiere recording of ERIS for flute and viola, performed by Kevin Gowland (flute) and David Aspin (viola). Concert series produced by Les Pratt. The premiere took place at the Cosmo Rodewald Concert Hall in Manchester University on the 23rd. August 2011. Eris (Greek…
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For piccolo and piano. Dedicated to Cristina Ledford. Duration – 13:30.