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For clarinet (Bb), horn, bassoon, two violins, viola, cello, and double bass
Written for the Berkeley Ensemble for the PRS Accelerate scheme, and premiered by them on the 22nd of November 2018 at St James Piccadilly in Lonodn.
Morfydd Llwyn O wen (1891-1918) was a Welsh composer. After studying piano and composition in Cardiff, she attended the Royal Academy of Music in London, where she won multiple prizes. She died of chloroform poisoning at the age of 26, following an operation to treat an acute appendicitis. During her short life she wrote around 250 pieces, including works for orchestra, choir, solo piano and chamber music.
This piece is based entirely upon her 1914 song for voice and piano, The Lamb , which sets the well known poem of the same name by William Blake.
For string quartet
Written for the Ligeti Quartet for their scheme at the University of Sheffield.
Twenty One Minute Pieces 20’
For sopranino/soprano(x2)/alto/tenor recorder, flute/bass flute, Eb/bass/contrabass clarinet, and percussion
Written for the London Symphony Orchestra’s Soundhub scheme, first performed on the 14th of July 2018 by Tabea Debus (recorder), Carla Rees (flute), Heather Roche (clarinet), and Paul Stoneman (percussion), at LSO St Lukes.
Twenty One Minute Pieces is a variety performance for four musicians, in which a number of largely disconnected and disparate musical episodes are presented to the audience in various space and in many different styles. It contains music that may be familiar to some listeners, and music which may not be, and a number of the pieces contained within the work are influenced partially or
entirely by existing pieces and musicians from the past and present.
For youth chamber orchestra (22.214.171.124 - 126.96.36.199 - timp - strings)
Written for Holly Mathieson and the Sage Gateshead’s Young Sinfonia, commissioned by the Sage Gateshead with support from PRSF. Premiered on the 9th of June 2018.
For oboe/cor anglais, trumpet (Bb), horn, percussion, accordion (solo), and two violins
Written for Luke Carver Goss (accordion) and the Royal Northern Sinfonia, performed at the Sage Gateshead and released on NMC Recordings in January 2018, as part of Sound and Music's Next Wave 2 scheme.
Zorthern is a piece where elements of folk music and classical music are placed alongside one another. Though each of the four countryside musics that make up the piece are imaginary, the piece uses material from Mozart’s Clarinet Concerto, as well as the traditional English ballad Scarborough Fair. Zorthern is a made-up word, and is pronounced like ‘northern’ but with a Z.
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For flute, clarinet (Bb), piano, violin, and cello
First performed on the 13th of September 2017 by Michael Alampi (flute), James Gilbert (clarinet), Thomas Ang (piano), Andrew Xu (violin), and Sarah Gait (cello), at the Royal Academy of Music, London. Selected for the Hebrides Ensemble’s 2017 composition seminar, conducted by Will Conway.
Verlernt consists of tributes to three composers. The first, Dmitri Smirnov, was my teacher between 2014 and 2015. The second movement is a tribute to Anton Webern, and the third is to Philip Herschkowitz, student of Webern and teacher to Smirnov. The pieces use musical cryptograms on each of their names as material.
For mezzo-soprano, soprano saxophone, alto saxophone, trumpet (C), accordion, and double bass
First performed on the 15th of June 2017 by Carolyn Holt (mezzo), Jonny Ford (saxophone), Thomas Smith (saxophone), Gwyn Owen (trumpet), Inigo Mikeleiz Berrade (accordion), and Gyunam Kim (double bass) at The Ditch, Shoreditch.
The text was written by Raphaela Edelbauer.
For solo piano
First performed by Hyun-Jeong Hwang on the 9th of October 2017, at the Royal Academy of Music, London.
Five Inventions is a piece closely related to 1936: an East London Uprising, which was commissioned in 2016 by East London Music Group to commemorate the 80th anniversary of The Battle of Cable Street. However, rather than trying to tell a linear story as the earlier work did, this piece uses various songs and chants reportedly heard at The Battle as material to work with. These are ‘Solidarity Forever’ (movements 1, 2, 3, and 5), ‘The Internationale’ (movements 1 and 3), and ‘One, two, three four five, we want Mosley dead or alive’ (movement 4).
In Feyre Foreste 7’
For sopranino recorder (solo), two alto recorders (both doubling soprano recorders), and two tenor recorders (both also doubling soprano recorders)
First performed on the 24th of January 2017 by Tabea Debus (solo), Olwen Foulkes, Kristina Greally, Oscar Gormley, and Katherine Jones at the Royal Academy of Music, London. Winner at the 2017 British Composer Awards in the Small Chamber category.
In somer, when the shawes be sheyne,
And leves be large and long,
Hit is full mery in feyre foreste
To here the foulys song
The piece takes inspiration from this text, as well as from the aria “Hush, ye pretty warbling quire” from Handel’s “Acis and Galatea”, and from an extremely out of tune calliope that I heard being played from atop America’s oldest operating steamboat, the “Belle of Louisville”.
For two narrators and large ensemble (188.8.131.52 - 184.108.40.206 - perc.pno - 220.127.116.11.1)
Commissioned by East London Music Group, who gave its premiere on the 16th of March 2018, conducted by Matthew Hardy.
The text was compiled by Joseph Hardy.
1936 tells the story of “The Battle of Cable Street”, a particularly turbulent episode in the history of East London. On October 4th of the titular year, a uniformed march through the East End was planned by Oswald Mosely, leader of the British Union of Fascists. In opposition were thousands of anti-fascists, who took to the streets to prevent the march from taking place. There was, however, never any real confrontation between the fascists and their opponents; an army of police prevented the two groups from ever clashing. However, those opposing Mosely ultimately prevented him from completing his march, in what is generally regarded as a historic victory against fascism. This piece of music was written for the occasion of the battle’s eightieth anniversary, but should not be seen as an attempt to cement the event into the distant past; the issues and tensions involved are just as pressing today as they were then.
For large orchestra (18.104.22.168 - 22.214.171.124 - 2perc.harp - strings)
Awarded the Royal Academy of Music's 2017 Eric Coates Prize.
Anyone who has ever taken a long train journey through the countryside may have observed the way different layers of the landscape move at different speeds. The bushes and shrubs closest to the us become a featureless blur, while hills and pylons in the distance move at a glacial pace. The trees, fields, houses, and all other things that pass us at a moderate pace, hold our attention the most. Unlike the blur of greenery, we are able to see them long enough to take them in, but unlike the more far off curiosities, they are moving quickly enough that we are in danger of missing an interesting sight if we do not devote some attention to them before they shift out of view. Movado is the Esperanto word for movement.
For solo cello
First performed by Lydia Hillerudh in a masterclass given by Magnus Lindberg and Anssi Karttunen at the Royal Academy of Music on the 17th of November, 2016.
For tenor and ten-course lute
First performed by Elizabeth Kenny (lute) and Nicholas Mulroy (tenor) at the National Centre for Early Music in York on the 12th of May 2016.
The Man Who Woke Up 30’
Opera for four singers*, optional chorus, and six players (clarinet in Bb, horn in F, piano, violin, viola, cello) (2018 revision)
*The Man (baritone), Owner (countertenor), Woman (soprano), Whiskers (soprano or mezzo)
First performed by Goldsmiths New Chamber Opera on the 16th of May 2015, conducted by Jules Cavalié, at Deptford Town Hall. The singers were James Schouten (The Man), Joseph Cryan (Owner), Natalie Millet (Woman), and Grace Libby (Whiskers).
(2014 version with orchestra)
In May 2016, it was performed three times at St. John NuLu Theater, Louisville, by Thompson Street Opera Company, conducted by Alex Enyart. The Singers were Preston Orr (The Man), Eric Schlossberg (Owner), Kristina Bachrach (Woman), and Emily Howes (Whiskers).
(2016 version with four-hands piano)
The libretto was written by the composer.
“The Man Who Woke Up is possibly the funniest opera this side of Gilbert & Sullivan”
“This irreverent gem [is] lean, economical, and utterly lacking in pomposity”
“Not to be missed” - Arts-Louisville