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Gillian Whitehead  

Requiem

Duration: 20' 00" Year: 1981
for mezzo soprano and organ

Score Sample
Audio Sample
  • Programme Note

    Undoubtedly, this is one of Whitehead’s more unusual collaborations. The work, intended for five dancers and organ, with soprano added at the composer’s request, was to have been performed in five cathedrals around Britain during the summer of 1982. Due to the cancellation of the dance component however, the work received performance in only one of the cathedrals – Carlisle – but was later presented with a solo dancer, Bronwyn Judge, at the 1987 Sonic Circus in Wellington. The singer on that occasion was Glenys Taylor and the organist Douglas Mews. The composer initially delayed beginning work on the piece, since her sister was expecting a baby, and a Requiem did not seem an appropriate preoccupation. The successful birth was however followed by two close-family deaths and it was these which provided the composer with the emotional impetus to proceed with the composition. (Programme note by Emma Carle and Jack Body).

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David Downes  

Saltwater

 Year: 1989
dance score for tape

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Alex van den Broek  

Still Standing Silent

Duration: 50' 00" Year: 2009
for four musicians and a contemporary dancer

Video Sample
  • Instrumentation
    for B flat clarinet, tenor saxophone, percussion, contrabass - there is improvisation within set structures mostly for the tenor saxophone and contrabass
  • Programme Note

    In my work as a composer I have found bringing together classical and jazz musicians to be a rich and unique way of working. I have experience in both fields and my compositional talent and interest lies genuinely across the two art forms.

    This piece has been specifically composed for these performers and their unique sets of skills. Each performer is of a very high calibre and each possesses something special and unique in their playing and approach to music making. Mike Kime and Reuben Derrick often have moments of freedom as they are both accomplished improvisers. Gretchen Dunsmore and Mark Le Roche are classically trained performers with excellent skills and intelligent ears and minds. I knew that each of them would bring something to the work that would be unique and exciting.

    More recently my creative interest in movement and form has expanded to contemporary dance and I wanted to involve and include another artistic discipline in this work. Collaborating with Julia Milsom has been an exciting new venture for me. The nature of the sounds within the piece are highly applicable to contemporary dance and have been interpreted and expressed with considerable talent and skill by Julia.

    Layers of sound in time is a theme I have developed extensively in the piece. The layers interact, evolve, contrast, compliment, and conflict with each other to create a depth of space and time between them.

    The work is an exploration of the timelessness that comes in moments of deep introspection through evocative sounds and movement.

    Alex van den Broek

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Anthony Ritchie  

The God Boy

Duration: 1h 30' 00" Year: 2004
An opera in two acts based on the novel 'The God Boy' by Ian Cross

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Michael Norris  

TIMEDANCE

Duration: 38' 00" Year: 2012
Live score for dance-film, in collaboration with choreographer/filmmaker Daniel Belton.

Score Sample
  • Instrumentation
    two violins, cello and piano
  • Programme Note

    Time is cut open. Time is dismantled. It is this gateway that we open and close to really observe movement, and to glimpse Spirit. In this work it is the reunion of separated or broken parts that finds fluidity and wholeness. The compass of the dance is given full articulation in this state – we can appreciate the elegance and the mastery of the human form in space.

    Time Dance is in one sense a study of the dancer in action. Sinews of time – this is the algebra. It is not only examining but also restoring – reuniting from fragments of time – these pieces of time are coalescing to make the dance. When the figure pauses, the cascading echoes created through dance catch up with it. These are the monuments. When we catch up with ourselves we create a harmonic in space time. It is another way of celebrating being human. In the work we observe the relationship and sense of belonging to our home planet, Earth. This is geological, and thalassic – like a great cloak of emotion, the geometric grids and moving point maps are energetic prints containing our stories, our journeys, our pain, fear, beauty, love and joys. They are rippling beyond time, across time with the emotional frequencies that make up what it is to be human. This is also a dance. Time will quiver. I want to magnify silence and distort stillness. The geometry is a field of consciousness. Ultimately our physical bodies are the products of wave actions. The shadow is going into a wave space – and that alters the way we see everything.

    Source: http://www.michaelnorris.info

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