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Chris Watson  

recrudesce

Duration: 03' 00" Year: 2011
for flute, B-flat clarinet and bass trombone

  • Programme Note

    The formula for realising this work:

    - take existing quartet (2010)
    - delete guitar and cello parts
    - rearrange and pare down surviving flute and clarinet parts
    - add bass trombone part

    Why?

    - I’ve been interested in continuous recontextualisation of materials (transformed or unchanged) within single works for some time now; if I rip entire chunks from an existing piece and use them to build something else, to what extent is the resulting work new, and to what extent is it related? – and can this relatedness even be detected? Furthermore, is composing in my usual mode as dependent on such high levels of compositional struggle as I had previously held it to be?
    - but primarily: this is the first work written since the arrival of my son about a year ago; time for composition remains limited and rapid solutions must be found

    Chris Watson

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Chris Adams  

Trusttum Toys

Duration: 10' 30" Year: 2011
for flute, clarinet in B flat and bassoon

Simon Eastwood  

(un)seen

Duration: 09' 00" Year: 2011
for alto flute/piccolo, cello and percussion (2 woodblocks and a cowbell)

  • Programme Note

    seen was written as music for dance in collaboration with choreographer Justyna Janiszewska. It explores the boundary between what is seen and unseen, know and unknown, heard and unheard. The music for this piece is built upon ideas influenced by gamelan music, mainly the idea of building a rhythmic texture up from the one rhythmic line layered on to of itself at different speeds. Each section explores a different aspect of the relationship between these different layers. However, this rhythmic framework itself is never fully exposed, and so itself remains unheard while it exerts an influence on the piece from a distance.

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