Text from Sarah Fordham's book Love's First Look.

take me there now
now that the wind whispers low
now that the boat waits
rocking to and fro
like and empty cradle

take me there now 
now it's calm
now the days are long
and the lullaby
has become a song

Performed by students of the Terni conservatoire, Ensemble Briccialdi, conducted by Maestri. 


Testo della poetessa Sarah Fordham (Londra) dal suo libro Love's First Look.
Traduzione del testo:

portami lí adesso
ora che il vento sussurra delicatamente
ora che la barca aspetta
dondolando avanti e dietro
come una culla vuota

portami lí adesso
ora é calmo
ora i giorni sono lunghi
e la ninna nanna
é diventata una canzone

Esecuzione del Ensemble Briccialdi del Conservatorio di Musica di Terni.


Fragments - Live (Recording from Terni) (2013)

The idea for this piece came from the Christian theological concept of atonement. I wanted to represent in musical form what took place on the cross as Jesus died as a propitiation for our sins; that is, the two worlds of heaven and earth became reconciled to each other. I characterised each world by recognisable gestures. The first section is representative of God's world (i.e. the heavens) and is the origin for all of the material for the piece. The second section is the world, God's creation. All of the material for the piece is contained in the first chord and it is represented throughout the piece in differing forms and figurations. To represent the joining of the worlds, the musical ideas and gestures that at first remain separate to their individual sections, begin to blend and overflow into one another until they reach more of a sense of unity at the end of the piece. However, I hope that you will enjoy the piece, regardless of the theology!

The Joining of Two Worlds - Live (2013)

As the title suggests this is a piece based on textures. It is an electroacoustic piece, meaning there is a live element, a saxophonist, who improvised, and a recorded element, that I prepared. For the recorded element I recorded 4 textural sounds that I liked, then mixed and processed them, and then used a program called MaxMSP to create a 'patch' which would allow me to turn them on and off in a live performance and to do other things with them live (like live processing). In this 'patch' I also added the ability to record what the saxophonist would play and then to treat it like a fifth texture. The intention was to create an interaction/relationship between the recorded sounds and the live sounds, which certainly happened, but in the sense that they seem incongruent with each other rather than harmonious! 
In the performance I play the computer and David Brutti plays the Tenor Sax. 

Textures - Live (2013)

This is a minimalistic piece for harpsichord intended for use in private prayer. Things happen, but very slowly. The title is a play on words in Italian meaning either Rhythmic Focus or Rhythmic Fire.
It was written for a concert of new works based on J.S. Bach. So I based my piece on the first four notes of the Brandenburg Concerto No.3 in G. I then treated these notes with rhythmic and melodic processes, and, bearing in mind that the harpsichord has a very rhythmic sound, created a piece that focuses on slow-moving rhythmic development. The effect is, to me, a symbolism of the work of the Holy Spirit in a believer's life; He constantly causes change through a persistent yet continually varying rhythmic fire. 

Fuoco Ritmico (Rhythmic Focus/Rhythmic Fire) - Live (2013)

Soundtrack for an introduction scene of the film Cloud Atlas by an animator at Northumbria University (2011). Final version.

Cloud Atlas (2011)

The title of this piece is a mixture of a few things; ‘ich muss’, German for ‘I must’; IcMus – the music department of Newcastle University where I was a student; and with the added ‘ing’ onto the end makes it a continuous verb. It was written as a response to a university brief – so perhaps the title was an ironic gesture towards the task at hand. This piece incorporates the musical technique ‘heterophony’, which is where a melodic line stays the same but is imposed on different rhythms. As can be heard, the melody is gradually introduced in fragments and the recognisable heterophony begins a bit later. After repeating itself a few times and reappearing in the bass and in other variations, the melody then undergoes an elaboration after a short middle section. In the recapitulation, each of the instruments begin to play the original melody in different modes (like ‘moods’). They gradually reach more disagreement about what mode (or ‘mood’) to play in and finish with all of the different modal versions layering on top of each other.

Ichmussing - Live - 2012

Electronic piece incorporating recorded elements based on and utilizing Dylan Thomas' poem 'Do Not Go Gentle Into That Good Night' 
Best listened to loud.

Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.

Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.

Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.

Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.

Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.

And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.

Do Not Go Gentle Into That Good Night

The middle section of a longer work. This part is only based on my voice- a selection of words from the folk song "Trimdon Grange Explosion" that tells the story of a mining accident in 1882 in the North East of England. 

jinsalaco