Chamber/Small ensemble


Hatless in Ilkley (2014)

Instrumentation: Flute, clarinet, oboe, baritone, small percussion and violoncello Duration: Approx 3'10" Date of composition: April 2014 Blurb: Based around the Yorkshire folk song On Ilkley Moor Baht ‘At, this piece is formed of fragments of its harmonic and melody lines and snippets of text and notation from two other Yorkshire folk songs, the Holmfirth Anthem and Scarborough Fair. The introduction is formed entirely from material from the original song. The baritone then enters, with lines from On Ilkley Moor interspersed with text from the other songs to add a new dimension to the narrator’s tale. At various points the accompaniment interrupts with snippets of the Ilkley Moor melody as the piece builds to a chorus. This features melodic lines from all three folk songs, growing in strength before receding to the coda, where it returns to material purely derived from the original. Hatless of Ilkley was written in April 2014 for catch_22, and is approximately 3’10” in length.

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Brass and Bronze (2013)

On Saturday 13th July, Brass and Bronze was performed by the Bespoke Brass ensemble at Cutting Edge Brass, a concert put on by Colchester New Music. For more information about the concert itself, and the other pieces performed, please visit Colchester New Music's Cutting Edge Brass page.

As soon as the opportunity to write for brass quintet presented itself, the thought of combining it with bells immediately came to mind. Bells play a large part in my life as I regularly ring bells in the local glass tower, and they have influenced a number of my pieces in recent years. Whilst thinking my way around the piece, I realised that both brass and bells are used in the key moments in life: bells are used to summon people to celebrations of life, death, births, and other various key moments. Similarly, brass instruments of various types are used in celebratory fanfares, bugle calls, to call people to events in both times of celebration and times of hardship, such as war. It therefore seemed appropriate to use the opportunity to create a piece celebrating the use of both 'sets' of instruments as communicators to humankind.

The piece draws on all of the above as inspiration. You can find examples of bugle calls and change ringing both in the rhythmic and melodic patterns used, with the repetition of sections mimicking the driving patterns found in method ringing. There are also tolling bells, mainly represented by the bell samples.

The samples used are those of the Aldbourne Bells, from the sample library of the same name recorded and created by Ian Palmer (many thanks must go to him for both providing me with the library and allowing me to use the samples in the piece).

I am grateful to Bespoke Brass - Steve Drury (director, trumpet 1) Steve Tomalin (trumpet 2), Eddie Morgan (horn), Paul Yarrow (trombone), Chris Bearman (tuba) and Stuart Russell (electronics) for the performance, and for letting me share the below recording.

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Meditation (2013)

Work for clarinet and guitar.

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Double Helix (2012)

Duet for bassoon and 'cello, first performed in Scotland, October 2012 by the Red Note Ensemble.

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Ori (2012)

Chamber work for piano, bass clarinet, electronic violin and electronics.

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Quintuple (2011)

Instrumentation: Brass quintet (with either euphonium or bass trombone) Composed: 2011 Duration: Approximately 5 minutes

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Scenes from a Train (2011)

A suite in three movements, based around the journey from London to Basildon.  Originally written for clarinet and piano,  the suite was rearranged for clarinet and string quartet in 2012.

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Circles (2011)

Information about piece coming soon.

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Reflections (2010)

Information about this piece coming soon.

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Paradoxical Exchanges (2010)

Instrumentation: Harp trio Length: 5'00" Date composed: March 2010 A paradox is a statement or concept that contains conflicting ideas. Paradoxical Exchanges, therefore, is the exchange of such concepts. The first theme is inspired by the stratification of the Javanese gamelan – the use of multiple lines within a texture, spanning several octaves, with more intricate lines being intrinsically linked to the fundamental melodic line, or balungan.  The second theme, in contrast, has a continuous, flowing accompaniment and a singing melodic line, inspired by the melodic contours of Javanese singer’s melodies. After the initial presentation of the two themes, they slowly become tangled as they continue their exchanges, until they merge as one entity at the climax of the piece. This piece was recorded in June 2010 by Claire Iselin, Federica Mossone and Soraya Vermeulen.

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