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• Statham: Such Sweet Sorrow; computer-set 

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• Statham: Such Sweet Sorrow; computer-set 

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• Statham: Such Sweet Sorrow; computer-set 

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• In Retrospect - Quintets, Quartets and Trios by Keith Statham 

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• Keith Statham: ...of wine and roses  Year: 2011 

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• Biddington: Suite for Violin and Piano; facsimile 

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• Biddington: Suite for violin and piano; facsimile 

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• Eric Biddington: Tunes and Airs  Year: 1998 

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• Biddington: Suite No. 2; computer-set  Year: 2009 

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• Biddington: Music and Friendship  Year: 2010 

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• Canzona: Music for Younger Players 

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• Bowater: Swansong; computer-set 

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“Tathāgata” is the term Goutama Buddha often used when referring to himself after his enlightenment. In Pali and Sanskrit, “tatha” is the “truth”, and “āgata” is “to come”, “arrived”. (The noun buddha drives from “budh”, which means “to understand”.) As Buddha often said, he was a man, not a god or saviour and “…Tathagatas are only teachers… [who] point out the path…”. He taught that it is up to us to make the effort ourselves to follow the right path. “Nibbāna” is the cessation of sorrow and suffering (in Sanskrit “Nirvana”).

The String Quartet is in two contrasting movements. The structure, both overall and within movements, and many musical procedures, build on mathematical ideas. For the composer many layers of intention and personal history combine, but in performance the main impression is of struggle against conflict and discord, eventually overcome in exultant song in the First movement; the Second instead is contemplative, fugal, sometimes complex and intense, but finally resolving tensions and simplifying to end in an ancient cadence.

Maarire Goodall

• Goodall: Tathāgata; computer-set 

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• Goodall: Tathāgata; computer-set 

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• Goodall: Tathāgata; computer-set 

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• Goodall: Tathāgata; computer-set 

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• Powell: Ten Duos for Two Celli; facsimile 

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• Adams, C.: The Arianna Suite; computer-set 

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• Adams, C.: The Arianna Suite; computer-set 

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• Adams, C.: The Arianna Suite; computer-set 

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The Arianna Suite is a single movement work for four violins based on elements of renaissance and baroque music.

• Adams, C.: The Arianna Suite; computer-set 

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• Adams, C.: The Arianna Suite; computer-set 

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• Adams, C.: The Arianna Suite; computer-set 

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Near the start of play, a reference is made to the strings that the audience can hear, and Tennessee Williams is quite specific in where he wants music to be placed. The director of the production, Jesse Peach, and I decided that a solo violin would be the appropriate medium for the music for his Glass Menagerie.

The music is dominated by one particular theme, which is found in the Prelude. This theme symbolises the unfulfilled or unfulfillable dreams of the cast, and the resignation and quiet desperation that goes hand in hand with these. Other music is present: a theme to represent Amanda, the mother, whose recollections of a more “gentile” time motivate many of her decisions; music from the dance hall and a waltz off the gramophone; and these themes are frequently interwoven.

For practical purposes, numbers are often written longer than needed (eg. the waltz) as their endings need to coincide with stage action, sometimes abruptly. The forms are generally very simple, and I have felt that simple forms and material were best in combination with the drama.

• Young, A.: The Glass Menagerie; computer-set 

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• Young, A.: The Glass Menagerie; computer-set 

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A simple but expressive theme is subject to several variations, with main parts being shared around all 6 cellos. The tempo gradually increases towards the climax before subsiding to a quiet ending.

• Ritchie, A.: Theme and Variations; computer-set 

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• Ritchie, A.: Theme and Variations; computer-set 

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