Name: "Yeah... Really? ...Yeah'' by Josh Emdon
Duration: 43 s
Description: All tracks are derived from original spoken word samples, which I recorded along London's South Bank, 12 November 2011 and then electronically adapted.

Groundbreaking Post-Spectral track where all melody, harmony and colour is derived from a tiny fragment of recording of an electric metal saw on a construction site in London. Opening track on the album "Urban Art Music" which is available from all well-known download stores incl. - hmvdigital.com/releases/3752265

1. Metal Cutter by Neil March (created from recorded electric saw, from the album "Urban Art Music")

Benediction

SATBB a cappella. Pan-American multi-lingual text.
Performed by the Amherst College Concert Choir (2001), conducted by Mallorie Chernin.

Passing Through

All tracks are derived from original spoken word samples, which I recorded along London's South Bank, 12 November 2011 and then electronically adapted.



"Yeah... Really? ...Yeah''

The final scene and end credits composed for the BBC documentary "Gravity and Me: The Force That Shapes Our Lives"

Music composed and recorded by James Richardson

Gravity

Opening track from new (as yet unreleased) EP by British Composer Neil March uses pre-recorded actual sounds from his living and working environment not merely as sound effects but as instruments of melody and harmony, altered and enhanced digitally and placed alongside notated music to produce a thoroughly original style in which the everyday urban soundscape influences the entire compositional process.

Music to plan towns by (EP)

Music to plan towns by - I  by Neil March

Track 7 of the album, this may need a little work done to it eventually but for now I am happy. The initial concept was 4 minutes max, but then like all my tunes recently they begin to develop and gain a life of their own. Enjoy!

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Stopwatch

Feelings

Keefe/Thompson

I'm Through With Love

The Great Darkened Days

Fin (from "The Great Darkened Days" directed by Maxime Giroux)

The oboe quartet is a lovely and I think unjustly neglected medium.  Aside from the great Mozart oboe quartet—one of the central pieces in the oboe repertory—there are works by Britten, Carter, and only a handful of others.  And so I was especially grateful to the New Orleans chamber music ensemble Musaica for commissioning this piece from me and giving me the opportunity to try my hand at one myself.  As the title implies, the piece takes the form of a Baroque suite, with five short movements: Allemande, Corrente, Sarabande, Gavotte, and Gigue.  They all strive to be contrapuntal in the traditional sense, and except for the Sarabande they are all in binary form, with both the A and B sections repeated.  Special thanks to Bill Porter for putting up with my earliest attempts at a Baroque suite in his harpsichord improvisation class so many years ago, and of course special thanks to my consultants on all matters oboe and string, Meredeth Rouse and Josh Feltman.

This live recording is from the premiere, by Musaica, on April 10, 2012 in New Orleans.  The performers are Jane Gabka, oboe; Judith Armistead Fitzpatrick, violin; Ila Rondeau, viola; and David Rosen, cello.

Suite in A Minor for Oboe Quartet

musician-composer/teacher 

My early music education was in violin, singing boy soprano, and playing African drums. In high school — I sang in choirs, played in orchestra, and student ensembles. I studied at The New England Conservatory, Boston (U.S.A) — singing bass/b​aritone in choral concerts and in solo recitals, as well as playing violin in a Klezmer band and studying music history, theory, and humanities. I later studied a Masters Degree in Music at Trinity College of Music, London.

Early performances included: Centre l’ Orford Festival, Quebec; The Weberhof, Austria; Jordan Hall, Boston; Mount Holyoke College; and the Royal Naval College Greenwich. Singin​g/acti​ng roles included Beaupertuis in Nino Rota’s 'Il Cappello di Paglia di Firenze'​ at the Cochrane Theatre, London; Clifford Bradshaw in 'Cabaret'​ at The Greenwich Theatre (Trinity College of Music); and Bartolo in 'Le Nozze di Figaro'​ for Guildford Opera.

More recent performances as a singer and instru​mental​ist (violin, piano & guitar) include: Glen Miller Bar, Jazz After Dark, and Shanghai Blues, London. I sang and played piano with the Roots/Rhythm n’ Blues outfit 'The Retro Collective'​ — with a regular residency at The North Star, London and gigs including Peggy Sues, Leigh-on-Sea (Essex U.K.) as well as at other private functions.

Compositions include settings of British & American poets for SATB single-voice choir and the music to accompany the theatre production 'I Am Not Antigone'​, which played at the Amsterdam, Brighton, and Prague Fringe Festivals as well as at national theatres in Serbia and at RADA, London 2014/2015. 

New England Conservatory, Boston (BMus); Trinity College of Music, London (MMus); University of East London, (GTP/QTS)

"Yeah... Really? ...Yeah''

Josh Emdon

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