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This was performed by Phillip Leslie - Piano, Samuel Staples - Violin and Nathan Jackson-Turner - Cello.

Apeirophobia is derived from the greek 'Apeiron' meaning infinite or indefinite.

This short study for piano trio was written as a response to the existential concept of infinity and our lack of the ability to fully understand or comprehend it. Taking M.C. Escher paintings as a thematic framework and inspiration, the piece has a cyclical structure with the primary motivic material greatly inspired by rotational symmetry. The dense figurations in the piano are fragmented by persistent interruptions of the strings which slowly start to gain power and control until they open out to the more lyrical middle section. From there, the music seemingly starts to move in reverse with an extended fragmented spasmodic section triggering this change. Moving into the final section, we hear the opening material now twisted and distorted with the combined motifs finally disintegrating to white noise which is abruptly cut off.

Apeirophobia | 2022 | - [Piano Trio]

Breathe. A meditation.

Performed by Michael Hearty.

Breathe

The recording was produced by Psappha Ensemble on 5 September 2022 and features Ben Powell, the Ensemble's newly appointed Artistic Director.

Quiver is a blues-inspired piece which explores the piano’s resonance. Alternating meters along with the use of octaves in the upper register create a sense of brightness and propulsion from the outset. The piano’s resonant capabilities gradually become more prominent through the use of increasingly colourful harmonies. Relentless rhythmic activity, increased chromaticism and larger registral spans eventually drive the piece towards an emphatic climax, where the pulsating material finally gives way to rich, sonorous chords. Freed from rhythmical constraints, Quiver concludes on a more expressive note and alludes to some of the earlier motivic ideas with greater freedom and sensitivity.

Quiver (solo piano)

An extract from the performance of my piece 'Metal Tapestry' which was performed by the Liverpool Philharmonic's Ensemble 10:10 on 26 October 2022 at the Tung Auditorium.

The piece was conducted by Geoffrey Patterson.

For
Fl.
Fl/Pic
2Cl
1BCl
1Bas
1Hn
1Tpt
1Tbn
1Hrp
2Perc
Strings 6:6:5:4:3

Metal Tapestry (extract from live performance)

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)

The Japanese concept of ma relates to the idea of time and space (in particular negative space), where the lack of something is as important in giving context and value as the material elements. This can be seen frequently in visual art (where empty space is as important in a work as the paint itself) and travel (where the rest stops on the Tōkaidō road between Kyoto and Edo (Tokyo) organise the journey). In music, rests are frequently used to contrast between the ambient sound of the space and musical material. Though often represented in western art music by silence due to the artificial silence of the concert hall, the reality is that to truly explore the idea of ma, the performer should be responding to the sounds in the environment around them, reacting and integrating their sounds into the time and place they are in.

Where we are now invites the listener to hear not just the composed music, but also the environment of the space created by the electronics, and how the players relate their sounds to this environment. The solo flautist in particular will use environment to influence their performance, responding to the sounds in relation to their realisation of composed material and guiding their improvisations. The piece is split into three distinction sections, separated by two sections of free improvisation in the flute, supported by aleatoric playing in the orchestra. During the composed sections, the flautist will move through the space, whilst becoming static during the improvised sections in order to organise the journey similar to the rest stops on the Tōkaidō road. By movin through the space, the flautist can not only explore their relationship with the environment, but also play with the space between them and the fixed orchestra.

Where we are now was composed in collaboration with flautist Naomi Perera after we were awarded the Terry Holmes Composer-Performer Award for 2022/2023. This piece would not have been possible without Naomi, and the piece is dedicated to her, as well as to Terry Holmes for giving us the opportunity to create this work together. The piece was premiered in the Sir Jack Lyons Concert Hall on Wednesday 15th February.

---

Flutes - Naomi Perera
Conductor - John Stringer
Electronics - Jake Adams
University of York Chamber Orchestra

Where We Are Now

Disco! Disco! Good! Good? is a vibrant work that celebrates the disco era and its cultural impact on music. The piece examines the shift from vinyl to tape recording technology, which revolutionised the music industry, and how it shaped the sound of disco music.

The piece pays tribute to the queer ballroom culture that emerged during the disco era, which created safe spaces for LGBTQIA+ individuals to express themselves through dance and fashion. It highlights the significance of queer communities in shaping the cultural landscape of music and its influence on society at large.

At its core, Disco! Disco! Good! Good? reflects on the fear of being discovered that many queer individuals experienced during the era. It acknowledges the bravery and resilience of those who defied societal norms and danced freely to disco..

Through its energetic rhythms and lively melodies, Disco! Disco! Good! Good? invites listeners to join in the celebration of disco music and its cultural legacy. It is a testament to the enduring power of music to connect people and bring joy to our lives.

Disco! Disco! Good! Good?

Disco! Disco! Good! Good? - Performed by The Riot Ensemble

In Flux is defined by harmonic fluctuations and the turbulent search for a resolution which can never truly happen: that between our 12-ET tuning system and the overtone series. 

Beginning in a dark and static sound-world, the music slowly brightens with alternating major and minor sonorities that emulate the overtone series in 12-ET. These overtone-inspired harmonies along with an increase in textural vibrancy propel the piece to an emphatic climax. The wonderful clashes that exist between the natural overtone series and 12-ET are eventually revealed at the end. Irreconcilable, these two mutually exclusive phenomena fade away to an ethereal accord. 

In Flux was workshopped and recorded by Psappha Ensemble on 20th March 2023.

In Flux (flute, violin, cello, piano)

Awarded 1st Prize by judge Jo Kondo as part of 2023's Toru Takemitsu Composition Award. Performed by the Tokyo Philharmonic Orchestra and conducted by Kosuke Tsunoda.

Selvedge (Tokyo Philharmonic Performance)

Performed by Lauren Martin and Dan Nolan with Jason Taing and the Camerata Players.

Duplicity - For Bassoon, Vibraphone and Chamber Orchestra

​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. 

​

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/

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

Cameron Biles-Liddell

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