W.Fr.Bach-Sonata F-dur,2p.Larghetto espressivo

Fr.Poulenc Concerto d-moll I

Cloud song

Twilight

Gyroscope

Anthems recorded live at the Candlemas carol service at All Saints' Hockerill, Bishop's Stortford on Sunday 31st January 2016

Baptism of Christ. Words from ‘Common Worship’; Music: Andrew March

Sonatina in 7&5. Radio 3. Rarescale

This work for bass clarinet and string quartet was commissioned by clarinetist Bruce Belton, who premiered the work at the Golden Gate Players Chamber Music Festival in 2017.

Sheet music available from Alea Publishing: http://www.bassclarinet.org/alea/ALEA1178.html

Dan Pinkston: All That Remains

This symphonic poem won the Royal Philharmonic Society Composition Prize in 1996.  Easdale was first performed on Thursday 23rd January, 1997, by the Royal College of Music Symphony Orchestra (RCMSO) under Edwin Roxburgh. 

Programme Note: 
One hundred years ago a violent storm struck the Scottish Island of Easdale, killing many inhabitants and causing chaos.  The productive slate quarries were flooded and the whole Island was put out of business.
The first movement of this work was based on my initial impressions of the Island's remoteness.  The crashing waves send white spray into the air, illuminated by the almost horizontal sunlight.  With their reverberating dissonant overtones, two suspended cymbals - one played with a violin bow, the other with brushes - reflect the sound of the waves on the sea-shore.  The strings utilize harmonics for their bright, white sound.  The harmony is often diatonic and indicative of the calm, iridescent sunlight effect.
Five separate passages, employing stark doublings in the woodwind and brass, portray a 'threat' to this tranquillity.  These 'interruptions' become progressively more menacing, darkening the mood for the arrival of the storm.
The second movement is the storm itself.  It works its way through the orchestra, beginning in the lowest registers.  The harp is used to create an atmosphere of suspense.  The first section peaks at a mid-point in the orchestra's range; it then restarts at a lower level but works up higher.  The compositional language reflects the wilder side of nature, making much use of chromaticism and serialism.
Large chords serve as 'pylons', marking a series of five climaxes which generally increase in size and weight.  The fourth of these, however, is more animated - suggesting crashing waves, gusting winds and blizzard-like weather - whilst the fifth climax is the peak of the storm; from there onwards the tension subsides and the storm leaves in much the same way as it began.
The first half of the third movement is an expressive passage reflecting on the grief and devastation.  The mood lightens somewhat with four radiant chorales which are placed in a high tessitura, with low sounds kept to a minimum.  These 'metallic' chorales serve to establish the focal point of the movement.
The final section is intended to be lighter and more beautiful.  Dispersed fragmentary solos are presented by the oboe, cello, viola, trumpet and horn and there is a notable absence of any broad themes.  The work ends with a spacious chord which slowly fades.  One of the soli is chosen to end the work, emerging just before the orchestral chord finally dies away.  The ascending nature of the thematic material of this solo is in keeping with the constant necessity for light and hope.

Easdale 3rd Movement (Storm Aftermath)

Renewing the Myth, for alto saxophone and piano, by Marilyn Shrude

Andrew March was the winner of the first Masterprize International Composing Competition in 1998 with his orchestral piece Marine - à travers les arbres. He was born in Nuneaton, Warwickshire, in November 1973. In 1992 he was accepted at the Royal College of Music to study composition with Jeremy Dale Roberts, graduating in 1996.

Easdale 3rd Movement (Storm Aftermath)

AndrewMarchComposer

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