Crystallised Time is a work that explores the decay of time through the relationship between pulsation and static sound. The piece exploits how naturally a semiquaver ostinato pattern can gradually morph into different shapes and form intricate, crystal-like sound worlds. This allowed me to create resonance through the use of the rich chords over a wide range of the instrument. 

Performed by Olivia Jageurs

Crystallised Time (For Solo Harp)

Frozen Plains (For Chamber Orchestra), Performed by the BBC National Orchestra of Wales, Summer 2021. Found out more at https://www.bbc.co.uk/bbcnow

Programme Note: Frozen Plains is a composition inspired by the icy landscapes of Antarctica exploring how musical stasis can invoke the stillness found on these frozen icecaps. The title Frozen Plains serves a double meaning, representing both the static music in this piece as well as the imagery of glaciers. The landscape of Antarctica, a point of fascination for me, depicts ice continuously thawing and freezing as if the landscape is always changing shape. The music captures this through delicate textures and drifting melodies morphing from one idea to another. The ending of Frozen Plains hints towards our impact on the environment, where the layers of music melt away leaving only an intimate trio setting.

Frozen Plains (For Chamber Orchestra)

Programme Note: 
Clockwork Dances is a piece that explores momentum and rhythmic pulsation through two main ideas: a static melodic cantus and a rhythmically active dance-like material. In particular, the title is derived from this combination of regularity in pulsation found in ‘clockwork’ constantly ticking, which is then contrasted with rhythmical energy found in dance like material in compound metre in an attempt to subvert this sense of pulse. As the piece progresses the dance-like material moves from gestural, abstract content to more pronounced where pulse remains consistent. By the conclusion the musical ideas disintegrate into their constituent elements of pulsation and resonance, leaving only fragments of the dance behind.

Performed by Psappha Ensemble.

Clockwork Dances (Piano Trio No.2)

Programme Note: 
Clockwork Mechanisms is a piece that capitalises on the silvery, almost metallic quality of both the violin and harpsichord to create a piece that explores monument and pulsation. The title refers to the two aspects that inspired the composition, where the clockwork refers to the exploration of pulsation, whilst mechanisms is a reference to the cyclical nature of the rhythms employed. This aspect of pulsation is explored through the rhythmical propulsion of the baroque gigue, which gradually disintegrates over the course of the piece.

The work revolves around two cellular ideas, the first being a percussive plucked gesture often associated with the harpsichord as well as pizzicato in punctuations in the violin. The second, is contemplative and lyric owing to the flexible timbres of the solo violin line. Whilst the piece revolves around this ticking pulsation between the ensemble, the work reaches a climax with rich harmonies in the harpsichord and soaring melody. This disintegrates into a more static texture where the dance-like, gigue rhythm fades away, acting as an echo of the opening.

Developed and performed for the Cheltenham Music Festival's Composers' Academy 2022. 

Performed by: 
Fenella Humphreys (Violin) & Mahan Esfahani (Harpsichord)

For more info: https://www.cameronbiles-liddell.com/
https://fenellahumphreys.com/home
https://www.mahanesfahani.com/
https://www.cheltenhamfestivals.com/music

Clockwork Mechanisms (For Violin & Harpsichord)

Programme Note:

Yr Afon Yn Yr Awyr is a suite of three interrelated movements inspired by the nickname given to the aqueduct based in Pontcysyllte, North Wales. In essence, I wanted to explore how I could musically create a sense of floating through stasis and motion, much like the water in the aqueduct flowing above the River Dee. As such, each movement flows directly into the next, exploring a particular aspect of the imagery of a River in The Sky. What connects the individual movements is the melodic line that subtly weaves it way through different contexts and moods representing how the river in flows from Pontcysyllte through North Wales and beyond.

The first movement is a brisk, dance-like, idea where a folk inspired oboe line is juxtaposed against more rhythmical counterpoint in the strings. This rhythmical process then runs out of control before segueing into the nocturnal second movement. During this middle movement, I focus on creating stasis in the instrumental textures, combining the lyrical capabilities of the woodwind section with the silverly timbres of the harp. Finally, the third movement returns to the energetic pulsations found in the opening, with rippling figurations in the strings giving a water-like effect to the textures. These ideas culminate at the end, where melodic fragments from each movement appear in counterpoint over expressive harmonies.

This piece was commissioned and premiered by NEW Sinfonia and Robert Guy at the Llangollen Pavilion, as part of their Nature and Us 'Great Sound Exhibition'. Many thanks to the RVWF for supporting this commission. 

More info: 
https://www.cameronbiles-liddell.com
https://www.newsinfonia.org.uk
https://www.robert-guy.com

Yr Afon Yn Yr Awyr (The River In The Sky)

Programme Note:

Concerto For Flute & Chamber Orchestra is a piece that explores the musical relationship between soloist and ensemble, with the aim to blur the distinction between these two forces. I wanted to capitalises on blending qualities of the flute alongside the more soloistic capabilities of the instrument, including the flutes’ agileness and soaring melodic lines. In this substantial piece, I use the flute and orchestra to explore how musical material can remain static whilst the environment surrounding them, whether that be textural or timbral, can change the materials perception and personality. By allowing the musical material to be explored through different perspectives, I allow the ideas to evolve over the course of five movements, rather than having isolated ideas with little relationship to the overarching trajectory of the work.

Despite being in five distinctive movements with their own unique character, the music is based around two cellular ideas. The first is cantus firmus line presented in the solo flute, the second is a scalic figuration which is fully explored in the brisk second movement. The middle movements form a quiet crisis, where both the flute and orchestra feature their own solo movements, where the music reaches two perspectives on ‘static’ music. The final, fifth, movement is the most ‘traditional’ movement in regards to the relationship between soloist and ensemble. This dramatic and rhythmical movement brings together and combines the textures and thematic material from the preceding music to form a rondo structure, with the only new material being a three-note fanfare motif. The music works itself into a frenzy where the excitement of this concerto reaches a culmination, with the flute piercing in its upper register. After this point, the music looses its identity and cannot return to what preceded it. The orchestration dissolves away only leaving a duet between the flutes.

For more information: www.cameronbiles-liddell.com/

Soloist: Charlotte Ballard
Conductor: Robert Guy (www.robert-guy.com/)
Orchestra: Manchester University Chamber Orchestra

Concerto For Flute & Chamber Orchestra

Nocturnes sets two contrasting texts on the theme of sleep & insomnia. The first movement is a setting of an extract from a soliloquy in Henry IV, where the piano emulates restlessness through a gently rocking texture. The soprano establishes a contemplative and calm atmosphere, often imitating the pianos motifs to create a long line. Over time, the song becomes more animated
and agitated, with the piano texture building resonance through the use of a wide register. After this point, the soprano recalls the first two stanza’s of the soliloquy before drifting away as the piano echoes the opening melodic fragment.

To complement the dramatic first song, the second movement sets the evocative poetry of Emily Dickinson. In this movement, I explore the resonance and rich harmonies in the piano, to reflect the illusive poem. The piano features shimmering textures that enables the soprano to seemingly float above the resonance. From this bed of sound, I use the voice to explore
Dickinson’s poetry about death or rest. The piece closes with a repetition of ‘and the sun go on’, reflecting on the themes of life, rest and death.

Workshopped and recorded by Sarah Dacey (soprano) & Adam Swayne (piano), who are members of Riot Ensemble. 

For more information visit: www.cameronbiles-liddell.com

Nocturnes (For Soprano & Piano)

Selection of Miniatures from my suite for solo piano, performed in a new music concert by the wonderful Max Bilbe.

Mirror Fragments - Three Miniatures for Solo Piano

​Cameron Biles-Liddell is an award winning composer and pianist based in North Wales, studying for a PhD in Composition at the University of Manchester, funded by the Victor’s Sayers Award for composition. As a composer he has received funding from Help Musicians UK and John Mathews Trust, as well as gaining commissions from Tŷ Pawb, National Youth Percussion Orchestra and the Norfolk and Norwich Festival. Cameron’s music takes inspiration from a wide variety of sources ranging from the environment, artwork and the relationship between temporality and music. This has led to his work being recently premiered by a variety ensembles that most notably include: BBC National Orchestra of Wales, Royal Scottish National Orchestra, Psappha and the solo harpist Olivia Jageurs. 

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Cameron has also been fortunate to have been selected for composition schemes from across the UK. These range from orchestral collaborations through RSNO’s Composers’ Hub 21:22 to chamber groups such as Psappha’s ‘Composing For’ programme. He has also gained insights from internationally renowned composer mentors, including Nico Muhly from the Dartington Advanced Composition Course, as well as Gavin Higgins and Sarah Lianne-Lewis as part of the BBC National Orchestra of Wales’ Composition: Wales programme. Most recently, Cameron has been awarded the Paul Mealor Award for Young Composers and will develop a vocal work for the baritone Jeremy Huw Williams, alongside creating his new concerto, 'The Inextinguishable Flame'. Outside of composition, Cameron is the co-director for University of Manchester's New Music Ensemble and a Widening Participation Fellow. 

More information can be found on: https://www.cameronbiles-liddell.com/

Cameron Biles-Liddell

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