Crim Perfecte (Perfect Crime) - brass septet, 2perc, hp, pno/cel. Conducted by Swann Van Rechem.
After the homonymous painting by Àngels Planells.

​Premiere: Ensemble of the Lucerne Festival Contemporary Orchestra (LFCO) at the Hochschule Luzern, Switzerland. August 28, 2021. 

Photo: (c) 2021 Priska Ketterer/Lucerne Festival

Crim Perfecte (2020)

Performed by: 
Royal Academy of Music Symphony Orchestra
Aaron Holloway-Nahum (cond.)

Recorded live in The Duke's Hall, Royal Academy of Music (London), 3rd February 2022

I. Allegro
II. Adagio
III. Allegro

This set of short pieces was composed with the idea of musical conciseness and brevity in mind. Arranged in a fast-slow-fast movement plan, the pieces aim to convey as much argumentative material within the shortest possible span of time. 

Cover illustration: Brutalist Towers by Anthony Squizzato

Three Constructions for large ensemble (2021)

LLAOR (2022), for feedback violin and live electronics.
Arnau Brichs, live at the Fundació Joan Miró, Barcelona.

Get album here: https://polsfura.bandcamp.com/album/presence-101-2

Watch video here: https://www.youtube.com/watch?v=94nXpbovCsI&feature=youtu.be

LLAOR - ARNAU BRICHS [003]

Composed by Alex Paxton

Played by London Sinfionetta at Southbank Center. MArch 31 2022.
Tim Anderson,
Aga Serugo-lugo
Alex Paxton

Candyfolk Space - Drum. Excerpt. Alex Paxton

PRESENCE 101 (2022), for clarinet and live electronics.
Tomomi Kubota, live at the Royal Academy of Music, London. 

Get album here: polsfura.bandcamp.com/album/presence-101-2

Watch video: www.youtube.com/watch?v=8NmrNYvHqSk

PRESENCE 101: HARMONIA

Mirrors of Matisse for large orchestra (2022)
Orchestral suite in three movements

I. St. Elme (0:00)
II. Château Royale (2:40)
III. Tour Madeloch (5:27)

Composed by Declan Molloy
Conducted by Aaron Holloway-Nahum
Performed and recorded by the Royal Academy of Music Symphony Orchestra, 29.09.2022

This piece focuses on the fauvist paintings of Henri Matisse during his time visiting south-eastern French town Collioure. Each of these paintings has a wealth of expressive content, using colour as the primary basis of structure in the artworks - much more son than the objects being painted. By providing such colourful and imaginative renderings of various settings in Collioure, Matisse has left a lot for his viewers to ponder. For instance, what is behind the trees in the Olive Tree painting? What is in the distance in Les Toits? As the titles of each movement in this piece are locations within this town, the piece combining the influence of Matisse’s artwork with my experience of seeing Collioure first-hand.

The three paintings used are Olive Tree (1906), View of Collioure (The Tower, 1905), and The Rooves (1905). The first of these paintings is a sight I recall from climbing the hill below St. Elme castle, one of the first and most vibrant scenes of the excursion that encapsulates the vibrant aesthetic of the town as a whole. By contrast from this aesthetic, the sharp contrast of colours in View of Collioure matched my impression of the Chateâu Royale. This brought back memories of visiting Collioure as a child, but also brought an element of bleak sadness due to the building’s deterioration – a mixed emotion that complements the bipolar colour construction in Matisse’s work. Finally, with the view of the valleys presented in Les Toits, the last movement captures the process of climbing further up these hills, reaching the top of Tour Madeloch to appreciate the luscious scenery.

Mirrors of Matisse

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

Supra Calculated Will (2021-23)
for piano quintet and live electronics

Performed by students of the ESMUC Conservatory (Barcelona)

Supra Calculated Will (2021-23)

Supra Temps Amalgamat (for quintet, soprano and electronics)

Recorded at ESMUC (Barcelona), October-November 2023

Supra Temps Amalgamat (2023)

Composer of Serious Music that really isn't serious

Three Constructions for large ensemble (2021)

Elliot Teo

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