‘Dagian’ (pronounced ‘Dah-zhee-ahn’) is an Old English word that means ‘to become day’. It succinctly describes this piece’s journey: from darkness to light.

There are two contrasted musical materials. The ‘dark’ material is heard first in the longer, slow section of the piece. The ‘light’ material is initially heard in a germinal state, but gradually matures and becomes the main idea in the shorter, fast section. The piece ends with the ‘dawning sun’, when the contrast between the two musical materials is blurred.
 
The ensemble is divided into two duos: light (piccolo and celesta) and dark (alto flute and marimba).

‘Dagian’ was performed and recorded on 27th November 2015 by Vaganza, the University of Manchester’s new music ensemble.

Dagian (2015) for piccolo, alto flute, celesta and marimba

'Recitative and Aria' comprises two movements (of which 'Soliloquy' is the first) that are loosely cast in the forms of the operatic sub-sections to which their names refer, thus inheriting particular prominent characteristics: typically a recitative is sparsely orchestrated, sounds rhythmically free and drives an opera's plot forward, while an aria is a more formalised composition, in which the opera's plot stagnates, or in which a singer becomes or singers become fixated.

During the course of the two movements the soloist and ensemble elaborate on the nature of fixation, instances of which are juxtaposed with instances of digression. Fixation governs the structure of the aria especially and there are various things or features that become fixated upon at various points.

The recitative may be performed as a standalone piece; however, when performed together, the two movements are played without a break. The recitative is performed by the soloist alone, who is then joined by the ensemble to perform the aria.

'Recitative and Aria' was performed by University of Manchester students as part of the inaugural 'New Sounds from Manchester' concert in the Cosmo Rodewald Hall on Friday 2nd December 2016.

Performers:

Solo Viola – Sarah Keirle

Vibraphone – Ella Walker
Harp – Maddie Herbert
Piano – Andy Davies
Violin – Libby Sherwood
Cello – Clara Rundell
Double Bass – Sophie Sully

Conductor – James Keirle

Recitative (with interruptions) - Soliloquy (2013/16) for solo viola

'Recitative and Aria' comprises two movements (of which 'I Flitter in a Manner Most Fixated' is the second) that are loosely cast in the forms of the operatic sub-sections to which their names refer, thus inheriting particular prominent characteristics: typically a recitative is sparsely orchestrated, sounds rhythmically free and drives an opera's plot forward, while an aria is a more formalised composition, in which the opera's plot stagnates, or in which a singer becomes or singers become fixated.

During the course of the two movements the soloist and ensemble elaborate on the nature of fixation, instances of which are juxtaposed with instances of digression. Fixation governs the structure of the aria especially and there are various things or features that become fixated upon at various points.

The recitative may be performed as a standalone piece; however, when performed together, the two movements are played without a break. The recitative is performed by the soloist alone, who is then joined by the ensemble to perform the aria.

'Recitative and Aria' was performed by University of Manchester students as part of the inaugural 'New Sounds from Manchester' concert in the Cosmo Rodewald Hall on Friday 2nd December 2016.

Performers:

Solo Viola – Sarah Keirle

Vibraphone – Ella Walker
Harp – Maddie Herbert
Piano – Andy Davies
Violin – Libby Sherwood
Cello – Clara Rundell
Double Bass – Sophie Sully

Conductor – James Keirle

Aria (with excursus) - I Flitter in a Manner Most Fixated (2016) for solo viola and ensemble

James is a composer based in Manchester, England and has recently finished studying for a Master’s degree in composition at the University of Manchester with Prof Camden Reeves. His works are the results of experimentation with timbre and modality (and, recently, with microtonality), naturally arising from a special interest in (‘extended’) techniques and sounds. He has recently started to take inspiration from other (visual and literary) art-forms.

To date, James has worked with the orchestra of Opera North, as well as local new music ensembles Vaganza, No Dice, the Vonnegut Collective, Psappha, members of Trio Atem and members of the Quatuor Danel.

Upcoming projects include a short piece for piccolo and piano, and a large scale quarter-tone work for small string ensemble.

'Monistic Melody' is the second track on the No Dice collective's first CD, which can be ordered here: http://bit.ly/OrderStillness.

James Smythe

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