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Samuel Gray  

Concerto for Orchestra

Duration: 19' 00" Year: 2011
for full orchestra

  • Instrumentation
    33*3*3*, 4331, timp, 2-3 perc, piano, harp, strings
  • Programme Note

    A meditation on the brevity of life and the nature of loss, Concerto for Orchestra is one of very few of Samuel Gray’s works not to feature overtly political content. The unconventional, prominent use of the musicians’ voices in addition to their instrumental performances nevertheless marks the Concerto as characteristically Gray.

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Juliet Palmer  

How it Happened

Duration: 15' 00" Year: 2010
for narrator and ensemble

  • Instrumentation
    for bass clarinet in Bb, alto flute
    percussion — kick-drum, snare drum, low tom-tom, low woodblock, high woodblock, medium cowbell (muted), hi-hat, high ride cymbal, medium splash cymbal, thin metal sheet, cabasa, rainstick, tibetan bowl (F if possible), vibraphone, marimba;
    narrator — amplified with microphone and/or paper megaphone and power megaphone;
    piano (nylon fishing line rosined), violin and violoncello
  • Programme Note

    “In the beginning, there was nothing. Just the water.”
    “But where did all the water come from?”

    Throughout Thomas King’s novel the character of the trickster Coyote reappears, hopelessly bamboozled, trying to learn what really happened when the world began. Who knows the Real Story? Coyote would like to think he does, but then there’s Coyote’s Dream – “gets loose and runs around. Makes a lot of noise”. Coyote’s Dream has his own idea about things: “I’m in charge of the world”. By the end of the piece, you’ll be wondering where all that water came from…

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M Louise Webster  

Nameless by day

Duration: 16' 00" Year: 2011
six short pieces for solo piano

  • Instrumentation
    solo piano
  • Programme Note

    The name of a place opens, at a word, a world rich with images and associations; a world of landscapes, seasons, lives of the people who have lived there, births, deaths, celebrations and hardships. Travelling through the north of Scotland in search of the crofter villages that my grandparents’ families had left I found weathered stones where the villages had stood. Sometimes I found nothing – just a name on an old map.

    These six short pieces for solo piano were written with those lost villages in mind, no longer visible by day, but living on in the name, in the night, and in the lives of the diaspora.

    Each work is constructed from distinct and different melodic, harmonic and rhythmic elements. However the sound world for all six is drawn from my remembered images of granite, steep hillsides, rushing water, wild flowers, wind-bent trees, and above all, the lives lived within the villages.

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Stephan Prock  

Stradivariazioni

Duration: 16' 30" Year: 2011
theme and variations for violin and piano

  • Programme Note

    Stradivariazioni is a theme and variations, with each variation cast in the form of a character piece. Instead of a single theme, three themes—or “ciphers”—are presented in the ‘Tema (con amici)’ (Theme (with friends)). A musical cipher translates letters of the alphabet into musical notes which are then represented as melodies (or harmonies). The B–A–C–H cipher (Bb, A, C and B-natural in German usage) first used by Bach himself, is perhaps the most famous. The three ciphers in Stradivariazioni are derived from the surnames of those who inspired the piece: Antonio Stradivari, Martin Riseley and Diedre Irons. Throughout the work the ciphers are manipulated and appear in varying permutations. Though not always immediately recognisable, the assorted combinations of the ciphers provide a sense of coherence and intimate relationship between the five variations.

    The individual variations encompass the names of actual Stradivarius violins which are still in existence today. In each variation I have attempted to capture the essence of either the physical attributes (the colour of the varnish, individual details of scrollwork and sound quality, for example) or the given name and historical background of the violin.

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Andrew Perkins  

The Radish and the Shoe

Duration: 16' 00" Year: 2010
for narrator and orchestra

  • Instrumentation
    Piccolo, Flute, Oboe, Cor Anglais, Bb Clarinet, Bass Clarinet, Bassoon, Contra-bassoon, 4 Horns in F, 3 Trumpets, two Trombones, Bass Trombone, Tuba, Timpani, Vibraphone, Congas, Snare Drum, Harp, Narrator, Strings.
  • Programme Note

    The story of “The Radish and the Shoe” was created by French Canadian artist Louise Jalbert and set to music by Andrew Perkins. Jalbert’s book won the Parents’ Choice Award when it was first published in California in 1984 and has since been republished. The characters, a Radish, a Shoe and a group of Letters, all reside inside a book which they call their home. One day a pair of scissors attacks the book, destroying the characters’ home, leaving them completely despondent. However, they pick themselves up and repair their book, and in the process inadvertently transform their ‘home’ into something more beautiful than before. The story is cleverly analogous with survival in the real world and one that has always rung resonances with the philosophical approach to life Andrew Perkins has always attempted to instill in his students.

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Matthew Davidson  

Trio Sonata

Duration: 15' 00" Year: 2012
for flute, viola & harp

  • Programme Note

    TRIO SONATA for flute, viola, and harp is a four-movement work which combines polytonality and classical music structures with the following “non-western” melodies in the following movements : (i) “Aš pasejau linelius” (transcribed from the compact disc, Lituanie – le pays des chansons, Ocora-Radio France); “Carry Me Back to Old Virginny” (James Bland); (ii) Menuet melody by Antonio Sacchini; (ii) theme from the second movement of the “Emperor” string quartet by Joseph Haydn; and (iv) “Shto mi e Milo” – a traditional Macedonian folk melody.

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