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Chris Adams  

Atthis (mezzo-soprano & guitar)

Duration: 02' 00" Year: 2010
for mezzo-soprano and guitar

Chris Adams  

Atthis (viola & guitar)

Duration: 02' 00" Year: 2010
for viola and guitar

Robbie Ellis  

Banda Chiflada

Duration: 04' 00" Year: 2012
for saxophone quartet

  • Instrumentation
    SATB saxophone quartet
  • Programme Note

    Banda is a genre that sprang to life in the late nineteenth century when Mexican music collided with the polka of German immigrants. Traditional bandas are centred around the sousaphone and the tambora (a bass drum with a hi-hat on top). Beyond these, you’ll find further wind, brass and percussion instruments depending on the regional style: clarinets, saxophones, alto horns, trumpets, trombones, tarolas (snare drums) and more.

    A few months before writing this piece I’d seen a YouTube video of Chicago group Banda Sincera performing before a Mexican national team football match*. The atmosphere was party, the tempo was quick, the time was compound, the licks were virtuosic, and the pulse was always getting disrupted at the ends of sections. The band would pause, the tarolero and sousaphone dude would go off on a soloistic tangent, and then the band was back in for more of the same. They even stuck a conga-based cumbia in the middle! These guys were mental and I loved it.

    When I started on a piece for Saxcess I established the reasonably serious beginnings of Huff, but I kept getting pulled down this raucous Mexican garden path. I put the serious to one side, started a new score, took a few days to get this “banda chiflada” (crazy band) out of my system, and resumed composing Huff when I was done. They’re two very different pieces, but ultimately cut from the same cloth.

  • Availability

John Rimmer  

Beyond the Call

Duration: 04' 00" Year: 2012
A short celebratory piece for John Elmsly and Leonie Holmes on the occasion of their 60th and 50th birthdays respectively

  • Instrumentation
    Flute, clarinet, violin, cello, piano
  • Programme Note

    This short celebratory piece is based on some of the stylistic qualities of John Elmsly’s and Leonie Holmes’ compositions.

    Up to about the “golden section” (just over 3/5 of the piece), the pitch material is based on John’s name and uses some of his favourite intervals. The rest of the piece uses pitches from Leonie’s name and some of her favourite gestures as in the sudden fast rhythmic patterns.

    The title is doubly significant. It refers not only to the piece itself with its celebratory ‘fanfares’ or ‘calls’ and their colourful resonances which lead the listener into another soundworld but also to the outstanding personal qualities of these two composers. Like most university staff, John and Leonie work industriously beyond the call of duty.

    After listening to the 2012 CD of the Karlheinz Company, I realised that in my coloured resonances I had subconsciously used a similar technique found in John Elmsly’s striking work “Ritual Auras”. Such is the nature of serendipity.

  • Availability

Briar Prastiti  

Crunch Time

Duration: 03' 50" Year: 2011
for solo saxophone and fixed media

Samuel Holloway  

Dualities 2

Duration: 01' 30" Year: 2012
for solo violin

Karlo Margetic  

Et consumimur igni

Duration: 02' 00" Year: 2012
for SSA choir

Robbie Ellis  

Ha!

Duration: 03' 00" Year: 2011
for solo viola and shouty chorus

Robbie Ellis  

Ha!

Duration: 03' 00" Year: 2011
for solo violin and shouty chorus

Samuel Holloway  

Hauptstimme

Duration: 03' 30" Year: 2011
for full orchestra