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When I think of a piano trio, I immediately think of a transparent interplay of lines. This has something to do with the fact that the instruments that make up the modern piano trio are not particularly homogeneous, unlike say, a string quartet. It’s as if somebody had strewn some line drawings of simple three dimensional objects on a photographer’s lightbox, all on top of one another, resulting in an unexpected and strangely beautiful assemblage.

• Margetic: Lightbox; computer set 

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• Margetic: Lightbox; computer set 

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• Taylor: quasi concertino; computer set 

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• Taylor: quasi concertino; computer set 

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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

• Watson, C.: recrudesce; computer set 

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• Watson, C.: recrudesce; computer set 

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• Watson, C.: recrudesce; computer set 

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• Chris Watson: recrudesce; audio 

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• Rachael Morgan: Refracted White - downloadable PDF 

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• Rachael Morgan: Refracted White - hardcopy score & parts 

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In 1997 I visited Cairo to work with Arabic musicians and a dawn trip to the pyramids was on the schedule. Then there was a visit to a local tourist shop and I came away with my own relic – a plaster copy of a golden Isis with wings outstretched. The seller did warn me that it was not the real artifact. It has sat in my studio and in idle moments I have pondered the fact that this goddess was worshipped as far back as 2500 b.c. and later her worship spread throughout the Greco-Roman world until the 6th century. Temples to Isis were built in Iraq, Greece, Rome, even as far north as England where the remains of a temple were discovered at Hadrian’s Wall.

“Relic” opens with a call from the harp and drum and through the melodic and darker passages I seek to convey a sense of ritual – each element in its place, taking time to breathe, delivering then moving on. The fast second section exploded into this piece quite spontaneously as the potential of the harp and drum combination demanded to be realized. Unison and ornate figures dominate the melodic material and an urgent dance in the Locrian mode is the result.

• Scholes: Relic; computer set 

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• Scholes: Relic; computer set 

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‘Restlessly, While the Leaves are Blowing’ is one of many possible, yet not quite adequate, translations into English of the last line of Rilke’s poem Herbsttag: “Unruhig wandern, wenn die blätter treiben”. This linguistic decay, and the fact that we have to accept the inherent imperfection in any translation (including any translations of this programme note), is reminiscent of Rilke’s description of Autumn. Though you could say that, just as Autumn will eventually give way to other seasons, translation adds another layer of meaning; a different way of understanding and interpreting, serving to enrich the original.
KM

• Karlo Margetic: Restlessly, While the Leaves are Blowing - hardcopy score & parts 

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• Karlo Margetic: Restlessly, While the Leaves are Blowing - downloadable PDF 

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The fate of the Roma and Sinti (Gypsy) people continues to be a hugely divisive topic across Europe. Substandard housing, special schools, huge unemployment, massive discrimination, hate crimes and murders of Roma and Sinti because of their ethnicity contrast with the widespread conviction that Roma and Sinti are lazy thieves refusing to work, and that their squalid housing and enormous poverty is solely their own fault.

As a foreigner in Europe Samuel Gray sees massive discrimination and hate crime that is absolutely shocking in a so-called enlightened continent, and for him the level of intolerance towards Roma – in countries that should have learnt enough lessons from history – is terrifying.

The accordion is heavily used in ‘Gypsy’ music, and Austria – where Samuel lives – is full of talented travelling Gypsy musicians. Roma is Samuel’s expression of solidarity both with those – largely ignored – musicians and with an ethnic group that, in his opinion, is still treated as sub-human.

• Gray: Roma; computer set 

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• Gray: Roma; computer set 

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• Samuel Gray: Roma 

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Save Yourself is a further development of my preoccupation with sonic analogues to visual stimuli. In this work, I imagine a series of monohued “colour fields” which have been overwritten with surface figurations and gestures.

The accordion and melodicas provide the cyclical progression of harmonic fields—subtly coloured by gliding sine tones—whilst the winds and strings provide the aggressive gestural activity. The contrapuntal, textural writing gradually decays into more syncronized figures towards the end of the piece, whilst at the same time developing the noise-based timbres from the very opening.

• Michael Norris: Save Yourself - hardcopy score 

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• Michael Norris: Save Yourself - downloadable PDF 

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• Michael Norris: Save Yourself; video 

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Each of these seven miniatures suggests a character of the Commedia dell’arte: exaggerated, grotesque archetypes that play on the most basic human emotions – love, hate, pride, anger, jealousy, fear and greed. The miniatures are not intended as literal pictorial descriptions of the characters, rather to suggest aspects of personality; nor are they intended to function collectively as a traditional narrative, but of course the listener is free to imagine the interactions of characters and the bizarre scenarios that might result. Below are brief descriptions of each of the characters.

I. il capitano – the captain. Whether this swaggering braggart is actually a military hero is dubious; certainly he is quick to anger, prouder than a rooster and without any sense of humour, especially if the joke is on him.

II. pulcinella – literally “little chicken.” A most obnoxious, irritating upstart who squawks like a chicken until everyone around him is exhausted.

III. arlecchinno – literally “little devil.” An impish servant to pantalone, talking constantly. His is a slow mind in a ridiculously agile body.

IV. columbina – an oasis of calm amongst a band of villains and imbeciles, columbina thinks things through where her other half, arlecchinno, dives in head-first. Versatile, dazzling and impossible to resist.

V. scaramuccia – literally “a skirmish.” Another unscrupulous and unreliable servant, (occasionally) taking orders from il capitano. Smaller and faster than his master, scaramuccia is often in conflict with the similarly reckless arlecchinno.

VI. pantalone – a rich, greedy, lecherous and senile merchant who often abuses power for his own ends, pantalone is the equivalent of a mafia Godfather.

VII. gli innamorati – the lovers. A pair of self-absorbed, vain, indulgent youngsters, unconcerned with the world around them.

• Taylor: seven bagatelles; computer set 

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• Taylor: seven bagatelles; computer-set 

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• Taylor: seven bagatelles; computer-set 

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Originally used to describe the wake left in water by passing ships, the word ‘sillage’ has come to be used by perfumers to describe the scent trail left by a perfume. This piece takes its structure from a Frederic Malle fragrance (Bois d’Orage) by Pierre Bourdon (the only protégé of Edmond Roudnitska (Diorissimo) and one of the most innovative perfumers of his generation).

The tape part is available on request.

• Holloway: Sillage; computer-set 

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• Holloway: Sillage; computer-set 

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• Samuel Holloway: Sillage; video 

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• Samuel Holloway: Sillage; video 

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• Samuel Holloway: Sillage 

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