BEAG (AIR BHEAG) for three double basses explores the concept of gradual development and accumulation, drawing inspiration from the Scottish Gaelic phrase meaning "little by little." The title reflects the piece's compositional approach, where musical material unfolds and evolves incrementally, akin to the process of building layer upon layer.

Through a blend of textural exploration, harmonic richness, and rhythmic interplay, BEAG (AIR BHEAG) invites listeners on a sonic journey characterised by its patience and meticulous attention to detail. Each bass line intertwines with the others, creating a tapestry of sound that ebbs and flows with subtle shifts in dynamics and intensity.

As the music progresses, motifs emerge and recombine, reflecting the organic growth inherent in the composition's structure. The interplay between the three double basses fosters a sense of dialogue and camaraderie, as they navigate through passages of tension and release, unity and divergence.

BEAG (AIR BHEAG) ultimately celebrates the beauty found in the gradual unfolding of musical ideas, mirroring the intricacies of life's journey, where each moment contributes to the rich tapestry of human experience.

Recorded at Blackheath Halls
Performed by Sam Pugh, Alex Ferkey and Max Lamprecht (Double Basses)

BEAG (AIR BHEAG) — for three double basses

If you are interested in working with Emily, please email degruchycomposer@gmail.com 🧩💭

Emily has worked with several ensembles & soloists, including the performer-composer Sam Pugh, Terra Invisus, the Carducci Quartet, Sandbox Percussion, the Riot Ensemble, the Hermes Experiment, Transitions Dance Company, the Manchester Contemporary Youth Opera, the Royal Holloway New Music Collective, and the National Centre for Early Music. She has also been commissioned by several cultural organisations, including Jersey Heritage, ArtHouse Jersey and Art for Guernsey.

Born and raised in Jersey, Channel Islands, traditional Jèrriais culture often influences her compositions, providing a unique amalgamation of French and British sonorities. In recent years, her career has moved towards sonic art and soundscapes, which has led her to collaborate with and compose for cultural heritage and charity organisations - something that she enjoys deeply, and has aimed to bring her prior experiences from working with many professional ensembles back home to Jersey.

BEAG (AIR BHEAG) — for three double basses

Emily de Gruchy