[Binaural recording - headphones recommended]
[A 360 VR version of this piece with spatial audio may be heard here: https://www.youtube.com/watch?v=A3A00mLOkeA ].

Composed as a spatial electronic prelude for my ensemble piece 'Antikythera', Gruss was prompted by the sound of a solitary church bell tolling in the Spring of 2021.  Hearing a bell being rung for the first time since the start of the Covid-19 pandemic was a joyful occasion.  However, this was immediately combined with sorrow due the poignant reminder of the continuing impossibility of group activities such as the change ringing which this lone bell had so hauntingly replaced.  Indeed, the bell seemed to encapsulate the necessarily distanced and solitary nature of almost everyone's existence at that time, and to echo the static nature of day-to-day life through periods of lockdown.

Gruss from Antikythera [Binaural]

Antikythera is modelled upon an Ancient Greek geared device designed to track the motions of celestial bodies and predict solar or lunar eclipses.  Antikythera combines several musical materials in a manner akin to the turning of a complex geared mechanism, its wheels and cogs revolving around each other at various speeds.  This combination multiple narrative streams which traverse the structure is dramatised through the use of spatialisation and the physical layout of the performance space, with the performers orbiting around the audience at different rates throughout the piece.  

This recording incorporates a 20 minute prelude for electronics entitled "Gruss", which may optionally be included before any performance of Antikythera.  Antikythera 'proper' begins after 20 minutes.

Recorded by students at the Guildhall School of Music and Drama in November 2021.  This is a binaural recording, therefore headphones are recommended in order to hear the music's spatial effects.  

A video excerpt of the beginning of Antikythera can be seen here:
https://youtu.be/U6Ygfr4JWyU

The full score is available here:
https://www.jamesalbanyhoyle.com/_files/ugd/3145ab_40199fcc1e734ffab035af572fbb37f3.pdf?index=true

Timestamps:

Gruss (Electronic Prelude) - 00'00"
Rotation A (Antikythera, Bar 1) - 19'50"
Rotation A, part 2 (Figure T, Bar 128) - 25'10"
Rotation B (Figure GG, Bar 216) - 29'26"
Electronic Interlude - 31'30"
Rotation C (Figure MM, Bar 268) - 33'38"
Rotation D (Figure LLL, Bar 581) -  42'22"
Static Moment (Bar 713) - 46'02"
Rotation E (Figure AAAA, Bar 714) - 51'10"
Coda (Figure OOOO, Bar 884) - 56'52"

Antikythera [with Gruss, binaural recording]

Antikythera is modelled upon an Ancient Greek geared device designed to track the motions of celestial bodies and predict solar or lunar eclipses.  Antikythera combines several musical materials in a manner akin to the turning of a complex geared mechanism, its wheels and cogs revolving around each other at various speeds.  This combination multiple narrative streams which traverse the structure is dramatised through the use of spatialisation and the physical layout of the performance space, with the performers orbiting around the audience at different rates throughout the piece.  

Antikythera may optionally be preceded by 'Gruss', an electronic 'greeting' prelude which is played as the audience enters the hall.  Gruss may be heard here:
https://soundcloud.com/jamesalbanyhoyle/gruss 

Recorded by students at the Guildhall School of Music and Drama in November 2021.  This is a stereo mix of the original surround sound recording.  A binaural rendition of the piece, suitable for listening with headphones and incorporating the 'Gruss' prelude, can be heard here:
https://soundcloud.com/jamesalbanyhoyle/antikytherabinaural

A video excerpt of the beginning of Antikythera can be seen here:
youtu.be/U6Ygfr4JWyU

The full score is available here:
https://gate.sc/?url=https%3A%2F%2Fwww.jamesalbanyhoyle.com%2F_files%2Fugd%2F3145ab_40199fcc1e734ffab035af572fbb37f3.pdf%3Findex%3Dtrue&token=b6345e-1-1686739216350

Timestamps:

Rotation A (Bar 1) - 0'00"
Rotation A, part 2 (Figure T, Bar 128) - 5'14"
Rotation B (Figure GG, Bar 216) - 9'30"
Electronic Interlude - 11'30"
Rotation C (Figure MM, Bar 268) - 13'41"
Rotation D (Figure LLL, Bar 581) - 22'26"
Static Moment (Bar 713) - 26'06"
Rotation E (Figure AAAA, Bar 714) - 31'15"
Coda (Figure OOOO, Bar 884) - 36'56"

Antikythera

Antikythera [Stereo Mix]

Ensemble Adesso
Music Hall, Guildhall School of Music and Drama
27/04/2016

Full score:
https://www.jamesalbanyhoyle.com/_files/ugd/3145ab_fe21997e951746f0aae5b4d928847300.pdf?index=true

Orrery

Eight canonic miniatures based on Chaucer's 'The Canterbury Tales'. Material is derived entirely from the Kyrie of Ockeghem's 'Missa Prolationum', a transcription of which begins the set.

1. General Prologue: Ockeghem's Missa Prolationum
2. The Canon's Prologue
3. The Sea Captain's Tale
4. The Tale of Sir Topaz
5. The Host's Retort
6. Intermezzo
7. The Miller's Prologue
8. The Miller's Tale

Antonia Berg, Flute
Ausiàs Garrigós Morant, Bass Clarinet
Rebecca Raimondi, Violin
Cecilia Bignall, Cello

St Mary the Virgin Church, Twickenham
12/07/2016

Full score:
https://www.jamesalbanyhoyle.com/_files/ugd/3145ab_1bd267b439204f9c9e36d6f4d10850d3.pdf?index=true

Phislyas

James Albany Hoyle is a composer based in London.  His music has been performed and commissioned by groups such as the London Symphony Orchestra, the Park Lane Group, Britten Sinfonia, and Psappha. James is currently a participant on the 2024 Royal Philharmonic Society Composers Programme, and was a participant in the London Symphony Orchestra 2017 Panufnik Composers Scheme, gaining a commission for the LSO's 2019/20 season.  

James has recently completed his doctoral research at the Guildhall School of Music and Drama, investigating time and temporality through musical composition.  He previously studied at the Royal Academy of Music, Purcell School of Music, King’s College London, and Dartington International Summer School, where his teachers and mentors have included Julian Anderson, Edmund Finnis, Matthew Kaner, and Colin Matthews.  He currently teaches composition and musicianship at the Royal College of Music Junior Department and at the Guildhall School of Music and Drama.

James Albany Hoyle

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