outstanding and evocative work!  big thanks for the context notes.. fascinating! I am currently in Siena staring at mosaic cathedral floors depicting Egyptian/Greek gods who have ben re-framed as contemporaries of Moses... anyway beautiful work!

Different more upbeat sound for this, mixed and mastered myself, hope you like it :)

Vote for us to play this at the new Robert Muchamore (CHERUB) book launch on the rock war page, we are entry number 6 https://www.facebook.com/rockwarbooks

On Your Mind

This is an original composition of mine for 'cello and piano. It was performed by Anthony Daly (piano) and Kieran Carter ('cello)in a live setting :) 

Image ©Ethnie Foulkes

Ripples

Crackers
by Andrew Furlow with juice vocal ensemble
	
A vocal piece to be performed around the Christmas Day dinner table, for any number of performers/diners. Alternatively, a concert performance may be in a line.

NB Crackers must contain a toy, paper hat and a joke.

o	Each performer/diner has a cracker. Nominate a performer to start. 
o	Performer 1 picks up their cracker and turns to the person on their left (Performer 2) and pulls it. They removed the contents of the larger part (even if they have not officially won it).
o	Performer 1 examines and plays briefly with their toy. 
o	Performer 1 unwraps and dons their paper hat, making the most of the rustling sounds.
o	Performer 1 sings the question from their cracker joke on any note (but only one note). They continue to do this, leaving a short gap in between each time they sing the question. 
o	Once Performer 1 has begun singing their question, Performer 2 picks up their cracker and turns to the person on their left and pulls it. They should perform the same actions with toy, hat and joke, and should choose a different note on which to sing their joke’s question.
o	This continues until all performers have pulled their crackers and are singing.
o	The final performer should sing their joke question three times (suggestion: the final performer may select a very high or very low note to be better distinguished), and then say the answer emphatically. At this point all performers stop singing. The person on the right of the final performer emphatically says their joke’s answer immediately afterwards, followed by the next person on the right, until it reaches Performer 1.
o	Once Performer 1 has said their joke’s answer, leave a short pause, before all performers laugh. The laughs should be varied, dramatic and ingenuine, and should cease abruptly.

Premiered at St Leonard’s Church, Shoreditch, London on December 1st, 2015, as part of Juice Vocal Ensemble’s Snow Queens programme launch concert. 



Crackers

A walk around the People's Park in the centre of Zhengzhou, which was full of activity on a Saturday afternoon.

Ping pong, traditional performers, karaoke, rollercoasters and lots of people dancing to some Chinese ska.

Kerry is a Musician in Residence in China with the British Council/PRS for Music Foundation. She is visiting the Henan region, mostly based in Zhengzhou, from February 25th-March 31st. She is making work based on the trickster fox in European and Chinese folklore.

Find out more at fox-pop.com

People's Park, Zhengzhou

A Suokas remix of Anna Meredith's latest single 'Taken', from her debut album Varmints which is out now. 

Tickets for the following shows at http://smarturl.it/AnnaMeredithLive
24/03 - Manchester (Soup Kitchen)
25/03 - Margate (West Coast Bar)
29/03 - London (ICA) SOLD OUT
02/04 - ReWire Festival, The Hague
04/04 - Amsterdam (Musiekgebouw)
12/05 - Nantes (Trempolino)
13/05 - Paris (Point Ephemere)
14/05 - Brussels (Grand Salon)

Anna Meredith - Taken (Suokas Remix)

Taken from the forthcoming soundtrack to Couple In A Hole

BEAK - Timeshare

Graininess and Sheen was made while I was Composer in Residence at Handel House Museum in London (2010-12). I spent time recording interviews with the volunteers at the House, and recording myself playing the three keyboard instruments there as well as other sounds in the House. Every sound you hear comes from the House.

www.kerryandrew.net

Graininess and Sheen

Sounds of Fair Isle chosen, recorded and curated by the children of Fair Isle Primary School, under the guidance of Kerry Andrew - "Half-Island Half-Bird" project, Fair Isle August 2016

Our Fair Isle Sounds

Commissioned by the London Contemporary Church Music Festival, and premiered at St Pancras Church, May 13th 2015 and broadcast live on BBC Radio 3.

I am fascinated by the influence of Anglo-Saxon, Germanic and Norse mythology on Christianity in the Middle Ages. Christian poets attempted to appeal to those still embedded in the pagan traditions, adapting the gospels to fit the cultural climate. It is particularly apparent in what is often called the earliest English poem, The Dream of The Rood, which exists in three forms: on runes on the 7th-century stone Ruthwell Cross in Dumfriesshire, Scotland (although it was possibly added later, a sort of Middle Ages graffiti); in Old English on parchment on the 10th-century expanded version in the Vercelli book in Northern Italy; and on silver, in Roman letters on the Brussels Cross made in Wessex. The symbol of the cross took on an especially Germanic/Celtic flavour in the 7th century, represented as both a battle-standard and as a version of the Tree of Life – and it is strangely reminiscent of the Norse god Odin’s quest to glean the meaning of life by hanging himself on the great tree Yggdrasil for nine days and nine nights.

The Dream of the Rood is an incredibly evocative poem notable for its mystical, dream-like quality and a sense of heroism, with its depiction of Jesus Christ as a proactive, perhaps even aggressive, warrior. It uses a riddle-like opening in which the poet dreams of the tree which was the cross bearing Christ at the crucifixion. The tree then speaks to him in his dream, describing in vivid, fleshy imagery its own wounds as if it itself experienced the torture with and for Christ. The section that was added in the Vercelli version has the tree explain Christ’s ultimate triumph and the salvation message, before the poet/dreamer’s renewed sense of hope.

It is a lengthy poem in the expanded form; I wanted to create my own loose translation of the text, and particularly used Michael Alexander’s (The Earliest English Poems, Penguin) and Mary Rambaran-Olm’s (dreamoftherood.co.uk) as the basis for my own, fragmented and reduced version. I borrowed fragments of the original Old English poem for the ‘tree-speak’.

For the ‘song of tears’, I used a rough transcription of a keening song as sung by Kitty Gallagher and recorded by Alan Lomax in 1951 (2015 is his centenary) on World Library of Folk and Primitive Music, Vo. 2: Ireland (Rounder, 1998).

Dream Of The Rood (fragments)LIVE

Kerry Andrew is a composer, performer and author based in London. 
She specialises in vocal music and opera, choral music, folk, jazz, and community music. Choral and experimental work has been heard on BBC Radio 3, BBC Radio 4, 6Music and Classic FM and on national news channels. She won a British Composer Award in 2010 and two more for her chamber operas 'Woodwose' and 'Dart's Love' in 2014. She won her 4th for 'who we are' for the National Youth Choirs at the Royal Albert Hall. She was 2010-12's Handel House Composer in Residence. In 2017, she made her Proms debut with BBC Ten Pieces.

Her debut novel, Swansong, is out now: https://www.waterstones.com/book/swansong/kerry-andrew/9781911214229 and her second novel, SKIN, is published in February 2021.

Kerry performs as alt-folk artist You Are Wolf http://soundcloud.com/you-are-wolf; music can be heard and ordered here: https://youarewolf.bandcamp.com/

She performs with the award-winning vocal trio https://soundcloud.com/juicevocalensembleuk

She also performs with the jazz/classical/rock collective https://soundcloud.com/dollyman.

‘Stunning‘ Classic FM

‘Brilliant, Berio-like vocal effects…‘ The Times

www.kerryandrew.net

Dream Of The Rood (fragments)LIVE

Kerry Andrew Composer

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