From my Album Counting is no 6 in my Music for Strings Electronics and Percussion, or MSEP series,  Counting 2 is for Solo Cello and Electronics. The Rh no. refers to its place in my Rh Catalogue of Works. I nthis is my favorite of all my works for Cello.

Rh 192 Counting 2

Born in Derby, Central England in 1967, he had a conventionally musical childhood, where both parents were musicians and with involvement in music at school, discovering modernism in music, Mahler, Bartok, Berg and Tangerine Dream from friends in early adolescence. Parting unceremoniously from school he moved to a local college to study ...music, deepening obsessive interests in modernism in music, Art and Architecture. Here he developed the early phase of what would occupy him for the next 20 years - the style of minimal line Drawing of Form and shape abstracted to Geometric Figures that came to be called Elementalism, becoming a branch of OP Art. After a Dangerous brush with Cancer in his early 20's and Reading Philosophy and Music at Warwick in his late 20's he held Major Solo exhibitions in London and Berlin, and has Large commissioned works in Liverpool Met. Cathedral, and in Oxford and Derby Universities, he retired from Art for the love of music aged 39. Music had followed his life as percussion, from folk bands to Solo work. He gave two recitals at the University of Derby in 2005 and 6. A man in the audience [2006] offered him recording Facilities and so came his first and second albums, being solo percussion albums under the then stage name 'Perpetuum Mobile' to distinguish it from the Art. In short order he set up his own studio facilities, His 'Drum Studio' and began recording in earnest. Percussion first, with the two PM albums becoming 7 'Drum music' or Dm Albums including his 'Five Sonatas' [Dm 2], and his 'First inventions for Djembe' [Dm 6] These works starting to employ multiple tracking and Electronics, 'Skyside full of echoes' [Dm3] even becoming 'Concert pieces' in a studied understanding of contemporary music. A number of albums featured sets of Solo Percussion 'inventions' for various instruments, consciously modelled on Bach's notions of instrumental invention, in 'the maximum from the least means', drawing out Techniques, textures and sonorities from all manner of Drums. Developing also studio techniques and electronics which would lead him far beyond percussion, with an upgrade to the new Isobel Studio. There followed an explosion of Creativity, he says: "It's like I had 40 years of pent up music inside me" - resulting in his spending the next four years continuously recording, at his studio and others. Drum music, Dm, was the first of his so called 'Tranches,' or 'Sections,' of separate musical research, that separated very rapidly out of the white heat of the earliest recordings, with equipment being set up recorded and mastered in quick succession, "it would be in the can before it could be even named", the only thing which preserved an order was the recording Catalogue number Rh X, for rhythm, later just 'Rh,' analogous to his 'Cw' notation for Art works; the last of which in the high 800's was just months before. So, it became necessary to organise his thoughts, into five working areas." Thus in the first of several root and branch reconsiderations, the notion of the Five Tranches was sealed, incorporating the Rh catalogue nos. as a bed rock chronology across all the Areas. These five ‘Areas of interest’/ research,’ Tranches’ or ‘Sections’ are, firstly, 'Drum music', Dm; and, secondly, another species of percussion, this time on metal, metal sonority and harmonics, with tuned and untuned metal objects and instruments, giving 'Metal Percussion music,' or MPm. With the first 7 albums Named as Dm 1 - 7, the 3 albums collecting the early pieces he calls the 'Metal shop', after setting up the studio in a dedicated area to make a lot of noise in deep in the nights, albums 8, 9 and 10 became MPm 1 - 3. And so the pattern emerged, compositing the next five albums, to encompass the works made thus far in his 3rd area of interest or Tranche. Music created by tape loops, set against one another to systematically create complexity and resolution in phasing effects, hence 'Phase music' or Phm. Thus albums 11 - 15 are called Phm 1 - 5. A music type for stringed instruments, with percussion and electronics, al la Klaus Schulze's 'X' [ten] and 'Trancefer 'was beginning to emerge, which, though still in its infancy , would be the push towards a recognisably Classical music and become an important strand in his music. Thus those proto Classical works were collected in albums 16, 17 and 18 as 'Music for Strings, Electronics and Percussion', or MSEP 1 - 3. The Last Tranche was a music that had travelled so far from its instrumental or environmental source, that it could be said to be 'Electronic music.' Thus last 8 albums in the organisation that set the these categories in Stone, gave albums 19 - 26 the subtitles of Electronic music or Em 1 - 8. From then on each new 'Album, that is 'CD length collection,' would take a designation after its content, to its tranche, and the next sequential number, in an irregular distribution over 120 or so albums. This last placement number, by album release not section is named after the record company founded to publish all this, DCM or 'Drowningcircle music' hence DCM number - itself named after his publishing Company founded with the Art in the 1990's 'Drowningcircle Contemporary fine Art’ or DCA, and yet Itself named after the small Artist's collective he founded in 1986 'The Drowning.' This Complex is the core of his working life, but surrounding this is an equally rich, if not richer layer of Collaborations with some very interesting people. The first of these, almost from the beginning of the music, was Jim Tetlow whom he met at an Electronic performance in Leicester in 2007, so beginning a long association with a group of musicians collectively known as 'The Leicester underground.' That first meeting became a shared stage, and an association to this Day as the Contemporary Duo 'Tetlow and Broadhurst,' producing some seminal work, over to date 14 albums. A couple of years after he met Jim Tetlow another figure came on the scene, the Cellist David Dhonau, with whom he formed D'juil - exploring in great depth aspects of the contemporary cello over, to date, 17 Albums, many of them doubles, and some of the most important music he would write. Lastly in his Leicester phase a short series of works with the Leicester based Polish Flautist Vocalist Ola Szmidt [and David Dhonau], as ‘OLArJ’ [pronounced ‘O lar ja’] and’ OLAU’ [‘O Lau’]. Their Double disc 'Cord of life' was played in full on American Classical music radio 'What’s next' - as were two works of D'juil. Falling a little out of sorts with Leicester, and restless for wider horizons he met the German wind specialist Markus Wenninger and through him Croatian Composer Jurica Jelic and Formed between them JJM, with one album, the double 'Breeze'. This short lived project separated into 'Wenninger Broadhurst,' a very important collaboration, with to date 7 albums, and the short lived, 2 album collaboration 'Anjelic,’ with Jurica Jelic and Berlin Sound Artist Marcus Beuter. Then another important international duo, ‘Konnyek’ formed under the umbrella of JJM [now as a publishing collective], with the Serbian Composer Pianist Marina Vesic, with five albums to date. Also, he formed collaborations with Leicester Vocalist Flautist Maureen Anderson, as 'Anderson Morning [2 Albums]; and With the English Percussionist Walt Shaw as 'Lords of the Dance. He has always felt his musical life could be expanded by working with others, and that his ‘Collaborative music’, his so called ‘Sixth Tranche’, Cm, was a life's work in itself.

https://en.wikipedia.org/wiki/Matthew Greenbaum. Senior professor of composition at Temple University. Lives in Brooklyn.

Rh 192 Counting 2

julian Broadhurst