Crowded Rooms (2011)
Flute / piccolo, oboe, clarinet in Bb / Eb clarinet, bass clarinet in Bb, tenore trombone, percussion 4 players: timpani (1 kettle), 5 tom-toms, bass drum, 5 temple-blocks, 2 tam-tams, 4 cymbals; piano, violin, viola. violoncello. Duration: 16 minutes.
As an artist I am interested in surfaces represented in sound, colour, form and texture as well as the effects of layering, geology and erosion upon them.
New works are also originated by recycling existing pieces of music through changing contexts and relationships, transforming this material into something quite new.
Many of the pieces I write find their starting point from within other pieces of music I’ve already written. This is the case with crowded rooms the material for which is drawn from ‘farben studie’ (for 6 instrumentalists) and ‘Repeat Offenders’ (bass clarinet duo). In this tradition, crowded rooms itself has gone on to proliferate into the music of ‘on a theme of Hermes’ (large ensemble) and Tlos (trio for clarinet, violin and piano). This journey continues to ‘play out’.
I am fascinated how altered contexts can radically redefine the way musical material feels and sounds. Transplanting different layers, voices or strands of music from one piece to another, altering tempi and dynamics, transposing, inverting, reinventing and then letting those strands sound out together.
In music, the recycling of material ensures that there is a ‘genetic’ connection between all my works; sometimes up to 15 individual pieces may be connected in this way. They are like sons and daughters, cousins, five times removed. With this ‘genetic’ material comes history, characteristics and content.
In music, as with people, the way this genetic material is ‘lived out’ determines the character and make-up of the person or piece. This can lead to very individual outcomes.
Premiere recording by LSTwo (students from Leeds University Music Department) 27.04.2012