Goldsmiths Concert 1 Dec 09

New Music Composition - Contemporary Music Composers Community


GOLDSMITHS UNIVERSITY MUSIC STUDENTS CONCERT


A historic first collaboration between composers and performers. 

Programme notes written by the composers. Click on speaker Icon to download audio file.


7.30PM, Tuesday 1 December 2009, 
Council Chambers, 
Deptford Town Hall

  Fanfare  (for Wind Quartet) – Neil March

Performed by Tim Phillips(Clarinet), Valentina Brown (Alto Saxophone), Alex HerberTrumpet),  Sam Ricketts(Trombone)

A short and, unusually for me, largely homorhythmic fanfare to mark the opening of this, in Goldsmiths terms, historic night. The harmonic language mixes atonal, whole-tone and jazz-related influences with occasional use of quarter-tones.

  Fantasie for Violin and Piano – Helena Gascoyne

Performed by Nicky Enderby (Violin), Helena Gascoyne (Piano)

I composed this for my daughter a couple of years ago to perform in a school concert. This little piece is not a Fantasie in the usual sense: it was written at the 11th hour before my daughter’s concert and my printer was almost out of ink!

  Contemporary Odyssey - Konstantinos Kotoulas

Performed by Casey Evans (Soprano)

Originally commissioned in 2007 by four singers, Contemporary Odyssey is based on one of the epic poems from Homer’s Odyssey and the lyrics, from beginning to end, are taken from the book. An atonal piece, it tries to convey the ancient Greek way of pronouncing the language and suggest ways since there is no definite element on which verbal speech was based. The sonic material is mainly connected to the story and endeavours to imitate the actual location of the hero and the poem as well as the era when the story happened. The lyrics are sung in ancient Greek as per the book. Their main element is the freedom granted to the singer to express its rhetorical melody. I would like to express my thanks to Casey, a graduate from Goldsmiths University, for agreeing to perform it at this concert.


  Free Improvisation – Benedict Taylor & Tom Jackson

Performed by Tom Jackson (Clarinet) and Benedict Taylor (Viola)

A spontaneous piece of improvisation by two of our performers

     Abstract Structures  – Lorenzo O. Glieca

     i. 12 Tones Evolution: work for Marimba solo
Performed by Caz Wolfson (Marimba)

     ii. 24 Patterns: work for String Quartet
 Performed by Helen Barriere (Violin), Anda Vican (Violin), Jane Park (Viola), Irene Hadjpateras (Cello)

Abstract Structures is a performance of semi-aleotoric music where the composer does not impose his intentions on the players, but rather inspires them with the presentation of musical material, and leaves to the musicians the responsibility for a coherent musical form and thematic unity. This takes place in an improvisation of a continuous evolution that makes every performance a unique event. The listeners should then search from, and within the music, a different path each time.
 

   Untitled  – Helen Gould


Performed by Helen Gould (Piano) 
A solo piano work composed specifically for performance at this event.



   Megalith  – Stephen Crowe



Performed by Ilze Ikshe (Flute), Andre Caniere (Trumpet), Caz Wolfson (Marimba), Christopher Bundhun (Guitar) 

I’ve just proof read what I wrote originally, and it was a load of balls- harping on about “ancient structures” and a silly theory about “chauvinistic form”. Exactly. So you can have this instead (ie nothing).


   Ertan's piece  - Ertan

Performed by Ertan (Piano) and ? (Drumms)

   Trio   – Valentina Brown

Performed by Valentina Brown (Alto Saxophone), Joey Draycott (Tenor Saxophone), Beth Lee (Baritone Saxaphone) 

A short saxophone trio deploying some atonal harmonies.

   Motion: Stasis: Motion  – Neil March


(incomplete audio)
Performed by Benedict Taylor (Viola), Alex Eichenberger (Cello), Carla Ruaro Pires (Piano) 

An evolving theme based on the democratic use of the total chromatic, extended using quarter-tones and placed in a fluid contrapuntal framework dominates the opening section. This then gives way to a light-textured section dominated by high register piano set against sustained harmonics and quarter-tones in the strings. A short final section partly unifies these elements. Across the piece, the musicians face the challenge of continuously changing meters/bar-lengths and complex polyrhythms.

   The Calling  – Helena Gascoyne

i.Labyrinth
ii.The Calling
iii.Tormentation
iv.Prayer 

Performed by Karen Bertolaccini(Flute), Tom Jackson (Clarinet), Helena Gascoyne (Piano), Caryl Mann (Harp) 

A short while ago I had some ideas in my head which I intended to use for a large scale work to experiment with time signatures and tonality. However, after twenty-nine bars the music lead itself to its own demise! And so it lay inside my computer for 40 days and 40 nights until talks came about for this very evening. This spurred me into rearranging my large scale work for a smaller chamber ensemble: the original twenty-nine bars reincarnated as the second movement. It was the inclusion of the harp which lead me to the overall theme of the suite and hence the other three movements.


   Unreal City  – Slavko Zagorac


Performed by Zoe Challenor (Soprano), Tom Jackson (B flat & Bass Clarinets), Carla Ruaro Pires (Piano), Benedict Taylor (Viola), Alex Eichenberger (Cello), Slavko Zagorac (Conducting) 

The inspiration for Unreal City came from the ancient form of microtonal singing from the Balkans called Ganga, where the minor second is considered a stable (consonant) interval, a point of arrival. The words come from T.S. Elliot’s Modernist classic The Wasteland. Apart from representing a contrasting context to the musical inspiration, The Wasteland contains chillingly familiar Monday morning images of the City of London. In a way, Unreal City is an immigrant’s walk to work song.

   Piano Piece   – Joey Draycott

Performed by Joey Draycott