The caccia 'Dappoi che'l sole' by fourteenth-century Italian composer Niccolò da Perugia is cut up, and then reassembled along a new tenor backbone – the evangelical song 'We Want To See Jesus Lifted High' by Doug Horley.

I felt this would be a suitable contribution to a concert of new music for recorders – medieval instruments, taking place in a church in the 21st century. 

Volumus ut Iesus exaltetur was written for BLOCK4 (http://www.block4.co.uk) and first performed by them in 840: New Music for Recorders on the 13th of July 2015 in St James' Islington. The concert was recorded by Lawrence Dunn.

Volumus ut Iesus exaltetur

Leo Chadburn - Malcolm McLaren Love and Hate (Live) (2016)

Leo Chadburn - Bibas Was Bombed (Live) (2016)

“How they tinkle, tinkle, tinkle, 
In the icy air of night!
While the stars that oversprinkle
All the heavens, seem to twinkle
With a crystalline delight…”
- Edgar Allan Poe, The Bells.

A wikipedia article Pitched percussion instrument is processed into chords and (later) melody in this informational piece. 

Pitched Percussion Instrument Music was written for Abstruckt Ensemble and premiered at the 840: New Music for Percussion on 01/06/2016.



Pitched Percussion Instrument Music

HarM explores ideas that I first encountered in Kerry Tribe’s double projection of a single 16mm film called H.M. (2009) that was recently on display at The Wellcome Collection, London. Tribe’s film explores the true story of Henry Molaison, an amnesiac man, identified simply as “Patient H.M.”, who underwent “frankly experimental” surgery to cure his debilitating epilepsy in 1953. An unintended outcome of the surgery was that Molaison was unable to form new long term memories although his short term recall, for around 20 seconds, remained intact. I was struck by Tribe’s exploration of this short term recall through the use of a 20
second delay between two adjacent film projections to evoke the duration and loss of memory experienced by Molaison. In my piece I have also set up the same 20 second delay between two adjacent duet performances. Furthermore I have explored two types of material, one whereby the singer is trapped by their inability to create more long term memories and the other whereby the singer re-enacts in sound the scientific mirror drawing experiments Molaison was put through after his surgery.

HarM was performed for the first time by the NME Ensemble as part of the 840 series concert at St James' Church, Islington on Saturday 10 December 2016.

HarM (2016) by Nicholas Peters

Performed by Jenny Ames Alexander and Colin Alexander at 840: New Music for Viola & Cello on 7/7/18

duet (viola & cello, 2018)

Written for and performed by Anton Lukoszevieze at 840 New Music for Cello and Piano, St. James Islington, 21.9.18 - http://eightforty.co.uk/events/210918/

line (solo cello, 2018)

Can We Start Doing Formal Dances Again Please?

(re)set for solo bass clarinet (2019)

Composed in 2020.
Commissioned by 840 Series, for their 5th anniversary concert, 
with funds provided by Arts Council England, Richard Thomas Foundation, Hinrichsen Foundation and RVW Trust.
Performed by Juliet Fraser (soprano), Colin Alexander (cello), Stephanie Tress (cello) and Peteris Sokolovskis (cello).
Live recording of 1st performance, at Cafe Oto, London on 
31 January 2020.

European Towns

This piece was written for 840 and the NME. It is composed from five combinations of pitches and rhythms, stitched together to make one unfolding form in which groups of notes are covered and uncovered in turn. This process of covering up sounds led me to thinking about the phenomenon of auditory masking, whereby the perception of one sound is altered by another which occurs simultaneously (or very soon before/after). Auditory masking can affect the nature of sounds we hear in various ways, particularly when those sounds are already closely related in pitch or timbre. 

polarpatterns.wordpress.com

Masking Set was performed by Sara Rodrigues (voice), Francesca Gilbert (viola) and Peteris Sokolovskis (cello) at 840: 840: Five Year Anniversary on the 31 January 2020 at Café OTO.

Georgia Rodgers — Masking Set

840 is a London-based concert series curated by the composers Alex Nikiporenko and James Luff. The series is dedicated to providing a platform for new experimental and minimal music. Each concert focuses on a particular chamber instrumentation, showcasing a diversity of works by living composers. 

840 takes its name from Erik Satie's inscription in Vexations - "In order to play the theme 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." 

Composer Nicholas Peters co-founded and co-curated the series from 2014 until 2017.

Georgia Rodgers — Masking Set

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