mymusic

MUSIC BY ME

I have been composing since the age of 15 and was introduced to the wonderful world of contemporary music by the composition course at the University of Birmingham. There under the tutelage of Michael Zev-Gordan and Vic Hoyland, I began to explore the limitless possibilities presented by the what is loosely termed "contemporary music." I have to admit to not really liking it at first, but it definately grew on me! I am now (very) slowly finding my own voice - if only through noticing the similarities between each of my compositions despite the surposedly different 'style' of each. The first piece I would consider at all satisfactory is my finals piece, "Away From Home," so that is where I'll start my 'opus' list! Thanks must also go to Lee Differ, who has been an invaluable source of advice and Catherine Cassidy for the wondeful opportunities she has given me. Catherine is the owner / choreographer of "Topiary Sound and Motion," a dance company dedicated to exploring the relation ship between sound and movement, and dancers and musicians (more about that later).

Away From Home:
Jan-Apr 2000.
Duration 11' 30"

"Elixir" (Topiary):
Jan - Aug 2000.

Prelude for cello :
Oct 2000.
Duration 4'

"The Ryme" (Topiary):
Sept 2000 - March 2001.
Duration 20'

Resonances:
Feb - May 2001.
Duration 6' 30"

"Elixir II" (Topiary):
Mar - July 2001.
Duration 9' 30"

Cantus Perpetuo:
June 2001 - present.
1st movement duration, 3' 30"

"An I for an I" (Topiary):
Aug 2001
Duration 19'

Scored for Cor Anglais and Cello solo, with 2 Violins, Viola, Doublebass, B flat Clarinet, Bass Flute, Piano and Percussion - 1 player (Marimba and Vibraphone).

Based on the octatonic scale - explores the relationship between the two soloists and two opposing groups of instruments (vln, vln, cl and vla, fl, cb). The soloists begin with a very close relationship, but are gradually pulled appart and take up the material of the opposing groups. The percussive instruments proving comment and reenforcement when necessary. It's more complicated than that, but in a nut shell thats whats going on.

It was performed and recorded as part of my finals by the Birmingham Contemporary Music Group. (BCMG)

A mammoth project undertaken jointly between students of composition at the University of Birmingham and Topiary Dance Company. Began working with improvisation to create pieces for different numbers of musicians and dancers. Choreographed by Catherine Cassidy.

The show was about an hour long and I was invloved in writing approximately 10 minutes of it. In all, 8 musicians/composers were involved. I wrote the music for the following:

"Stool One" for violin, cello, doublebass, horn and piano. (This was played twice, once near the beginning and once in the finale with additional clarinet, flute and second violin parts.) (With 2 dancers - 8 in finale)

"Beckon" (with Amy Monkhouse) for violin and cello. (With 2 dancers)

"Possession" for solo cello. (With 1 dancer) - Choreographed by Lia Prentaki.

Performed at the Edinburgh festival 2000 in Adam House, Chambers Street for the whole of August.

This is "Possession" from "Elixir" slightly modified and notated accurately for performance as a work for solo cello.

The piece explores extreme ranges of the cello and the myriad use of natural harmonics, including trilling from one to another, double stopping and distortion.

My second project with Topiary Sound and Motion. This time, I was only responsible for the cello part, but had input into the piece as a whole. Scored for clarinet, cello, piano and 6 dancers, the piece was under the overall control of the then music director Sam Phillips (also clarinet).

This piece was an experiment in extremes, be they dynamic or otherwise. The dance and music reflected each other as closely as possible. The music itself was very unusual - a lot of playing inside the piano and using 'foreign' objects (I played with a card board strip under my strings at one point for example.) The music was written to be extremely atmospheric as the piece was based on the image of the sea and all it's beauty and violence. Performed in Tipton Comminuty Hall and the CBSO Centre Birmingham, March 2001.

I was originally asked to write Resonances by a friend taking a Performance Masters at the Birmingham Conservatoire. For solo cello, it aims to make the cello sound more than it really is. It's harmonic basis is the four open strings, and tones, semi-tones and quarter-tones around them. It is in a simple arch form, beginning with a quiet contemplative section often using the natural harmonics of the string(s) in question. This errupts into a lengthly violent and angry central section, creating as thick a sound as possible, which stops abruptly to return to similar material to that used in the opening.

For violin (Amy Monkhouse), cello and 2 dancers. My third project with Topiary Sound and Motion. This was commissioned by the Midlands Arts Centre (MAC) in Birmingham, and performed there on 16 July 2001. It consists of two sections. A lively slightly aggressive moto perpetuo followed by a slight reworking of the original "Beckon" from "Elixir" - (Elixir II is my title - at the MAC it was simply called Elixir.) Also for two dancers.

For 12 Cellos. This piece was written purely for the joy of it. It explores the wondeful possibilities of this unusual ensemble. The first section pits conflicting groups of semi-quavers against each other, creating dense textures. It also plays with space. The 12 cellos must be lined up side by side on stage. Block chords are passed from left to right and up and down the register of the cello. Theres more to it than that, and only the first movement is complete, so watch this space (only if you want to!).

Hopefully I'll be able to include sound clips soon.

I also have considerable experience with arrangement. I took an orchestration course at university and acheived Firsts in most of my assignments. Recent projects have included the Carmen Suite No.1 for String Quintet, and Albinoni's Adagio for 12 cellos.

If you'd like to contact me about anything mentioned on this page, please e-mail me!

The result of a two week intensive project with Topiary called "Hot House." Scored for 2 Dancers, 2 Violins, 2 Pianos, Tam-tam and Broken Crockery. Choreographed by Rachael Alexander and designed by Ben Waddington. The piece explores the limits of a sibling relationship - how despite intense love, the slightest disagreement can bring about a rift that is almost impossible to heal. The music fluctuates between lyrical flowing passages and violent percussive outbursts. Performed at the CBSO Centre, Birmingham on 31 Aug 2001 by Amy Monkhouse, Caroline Pearsall, Sarah Rogers, Emma Parker, Rachael Alexander, Ben Waddington and Myself.