TR187 - The Mermaid Café - Alice

Performed by Kyla Matsuura-Miller
Winner of the Homophonic Pride Prize 2022
Recorded at La Mama Theatre

Dream-state for solo violin

everything is everything

performed by Jonathan Powell, piano, on 14 January 2014 in Oxford.

Adam de la Cour - Triptych III: Menage a quatres

Ceol na Fidhle, for violin and percussion (1999)
1 Prologue
2 Hornpipe
3 The Boatman
4 Reel
Sarah Oates, violin; Claire Edwardes, percussion (live recording)

Ceol na Fidhle (pronounced ‘kee-OL na fiddle’), for violin and percussion, is based on Celtic bagpipe and fiddle tunes.  The Gaelic title means “tunes for highland fiddle.”  Some of the tunes are obvious while others are almost hidden. Prologue starts with a bang, and is followed by Hornpipe where a familiar tune dances and then scurries away beneath a disguise of accompanying notes and rhythmic displacement.  The Boatman slows the pace and melodic decoration suggests the sound of bagpipes playing this rather wistful song.  Finally, Reel returns to the highly-charged drive of the Prologue with a frantic and virtuosic ending.
Ceol na Fidhle was written in 1999 for musicians Rachel Bremner and Tom O’Kelly and has received many subsequent performances, most notably by the Thornton School of Music Contemporary Music Ensemble at the Walt Disney Concert Hall, Los Angeles.

Ceol na Fidhle (pronounced ‘kee-OL na fiddle’), for violin and percussion, is based on Celtic bagpipe and fiddle tunes.  The Gaelic title means “tunes for highland fiddle.”  Some of the tunes are obvious while others are almost hidden. Prologue starts with a bang, and is followed by Hornpipe where a familiar tune dances and then scurries away beneath a disguise of accompanying notes and rhythmic displacement.  The Boatman slows the pace and melodic decoration suggests the sound of bagpipes playing this rather wistful song.  Finally, Reel returns to the highly-charged drive of the Prologue with a frantic and virtuosic ending.
Ceol na Fidhle was written in 1999 for musicians Rachel Bremner and Tom O’Kelly and has received many subsequent performances, most notably by the Thornton School of Music Contemporary Music Ensemble at the Walt Disney Concert Hall, Los Angeles.

Ceol Na Fidhle

Leg for solo flute.

Performed here by Reiko Manabe on 16.04.25 in Tokyo, Japan.

A video of the performance can be found here: https://youtu.be/rd8L9EeZxc4

Leg (2020) - 16.04.25

Performed by Edinburgh Contemporary Music Ensemble, conducted by James Lowe on 11th June 2011 at Reid Concert Hall, Edinburgh.

Oppressed Vibrations

Piano Piece

"from scratch" performed by BBC Scottish Symphony Orchestra, Owen Green (live electronics) and Shiori Usui (vocal improvisation), conducted by Ilan Volkov at Tectonics Glasgow Festival on 7th May 2017 in Glasgow, UK.

from scratch

This work was inspired by an article about Endlings, animals that are the last of their species, and by a set of piano miniatures composed by Pierre Boulez in 1945.

In her award winning article entitled Endlings: On Love and Extinction, Harriet Riley explores some of the psychology of dealing with extinction. She suggests that the notion of extinction is too overwhelming for us to face and that we associate it with "fantasy," as "nothing but the epic scale of myth can capture the immensity of losing an entire species."

In one part of the article Riley describes her emotional response to a report in the Living Planet Index that "more than half of all creatures have died out in the last 40 years," as "a deep, primal pain - a disturbance in the force."

"To feel grief is to admit that we loved. And sometimes it's easier to pretend the lost thing didn't matter than to confront the fact that it's gone. That's why we call endlings such a fanciful name, because pretending that they never existed means that there's nothing to grieve. But any psychologist will tell you that you have to grieve to move on."

Boulez composed Douze Notations while he was studying with both Messiaen and Leibowitz  at the end of World War II. The pieces are free extrapolations of a 12 note row, with each movement lasting exactly 12 bars. The pieces represent Boulez's desire to leave the old world in the past and to embrace the new musical language of the post war era.

Initially I found his use of extreme limitation very interesting, but as I explored some approaches to 12-tone composition and serialism, I was unable to find the appropriate materials for my composition. However, I did use the thinking behind serialism to organise my resources. I divided the piano, and piano playing into segments: two hands; seven registers; a range of articulations from very short to very long and at least eight graduations of dynamics. To this I divided each octave into groups of consecutive notes and explored the permutations of each group melodically and rhythmically.



Ultimately, the greatest impact of the Boulez pieces was purely musical. They inspired me to explore time, duration and resonance in a freer way than I had previously.

Both movements explore time and resonance. The rests, or spaces between the notes, are at least as important as the composed notes. Small gestures are separated by unpredictable measures of time and one is left to ponder the resonance left behind by each gesture, whether it be a short, sharp articulation or a sustained one. In this way, through the musical gestures, the performer explores the acoustic properties of their performance space.
Quotes from Island 146, Island Magazine, Hobart Tasmania, 2016.

The Endlings I for piano

Premiere of Action Music - Erik Griswold 2013
Claire Edwardes - percussion
Erik Griswold - prepared piano
Jason Noble - bass clarinet
Erkki Veltheim - violin
at "The Listening Museum," Urban Art Projects
20th April 2013

Leg (2020) - 16.04.25

Dominic Flynn

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