Glory To God In The Highest Christmas Carol (For unaccompanied chamber choir)

Baros was written in response to a poem of the same name, which explores the journey of self-discovery. 'Baros' is from the Ancient Greek word meaning 'weight' or 'burden'; the piece's dissonant harmonies, agitated cello solo and swelling chords attempt to express something of the frustration involved in striving to attain personal goals. The static artificial harmonics played by the strings at the very end of the work, usher in a new clarity and peace as a sense of purpose and direction unfolds. The whole piece encapsulates a  'movement' of from darkness to light, from ignorance to revelation, from incarceration to freedom and celebrates the joy of finally breaking through to a new place of discovery.

Watch the performance on this link - http://www.nmsw.org.uk/video/

Performed by Kokoro

Baros (For violin, clarinet, french horn, cello and double bass)

Esoptron was written in response to Peter Randall-Page's sculpture Granite Song and the original Greek word 'esoptron' means 'reflection' or 'a mirror not made out of glass'. This is reminiscent of the mirror image that is created by the two halves of Granite Song and the two identical patterns found within the sculpture. The material of the piece also reflects this through small phrases mirroring each other between the cello and marimba. The combination of the percussive sound of the marimba and the cello's pizzicato and staccato passages are sonic representations of the hardness of the granite sculpture.

Esoptron (For cello and marimba)

Enthumesis attempts to create a sonic representation of a mind deep in tranquil thought; the electronic underlay provides the basis for this world of thought and meditation, the live instruments weaving in and out of this wash of sound represent different thoughts (some more apparent that others)gradually being formed and then fading away just as easily again. The word 'enthumesis' originates from the Ancient Greek, meaning 'inward thought' or 'pondering'.

Watch the performance on this link - https://www.youtube.com/watch?v=mZ9OPTHPyHg

Performed by Scapegoat

Enthumesis (For soprano saxophone, vibraphone, tam-tam and pre-recorded electronics)

Written especially for cellist Keith Tempest, Oligos comes from being in a place that is neither here nor there, an 'almost' period of restless waiting to transition to a new place that is strongly desired. The piece encapsulates the emotional journey experienced while being in this 'almost' place; the plaintive phrases of the cello moving into a more expressive melody at the beginning attempt to express the feeling of melancholy and sadness experienced when stuck in this place of no direction.

As the piece moves on, the desire and painful longing for the soon coming new place is expressed through a restless rising cello line followed by an impassioned climax, supported by anguished chords in the piano. This theme returns later on in the piece but in a higher register for the cello, expressing a heightened sense of desperation, inner conflict and longing.

The piece ends with a final cry from the cello and ends on an unresolving D against the piano's C Minor chord, both instruments fading away into nothing as one resolves to wait in this 'neither here nor there' place a little longer, until it is time to move on.

The word 'Oligos' in Ancient Greek means 'almost'.

Performed by Keith Tempest (cello) and Barbara Murray (piano)

Watch the second performance on this link - https://www.youtube.com/watch?v=P8I4rPu_aj4

Oligos (For cello and piano)

Emergence plays on the idea of something emerging from the depths and then transforming into something much bigger, the piece is also an exploration of varying timbres and colours.

The theme is quietly stated by the bass clarinet early on and then emerges later from the dark low registers of its conception, after a journey through different colours and timbres. It then transforms into a dissonant and possibly aggressive version of itself, now played by the whole ensemble, thus reflecting the energy necessary in the process towards full emergence.

Performed in a workshop by Plus Minus

Emergence (For bass clarinet, cello and piano)

Written especially for violinist Yolanda Bruno, Aetos draws a picture of a bird's first attempts to fly and then eventually taking flight. After briefly soaring through the air, the bird makes a gradual descent back to the ground. 

The word 'aetos' in Ancient Greek means 'eagle'.

Cello: Keith Tempest
Piano: Barbara Murray

Aetos (cello and piano transcription)

This piece is a highly energetic dance with tango-inspired rhythms.

Flute: Nicki Barnes
Piano: Maria Garcia

Spire Dance (flute and piano)

Lois is a composer based in Bath who specialises in writing for chamber ensembles. Her work explores the use of pitch, syncopated rhythms and texture and also varying concepts behind each piece.

She is currently studying for a Masters in composition at Bath Spa University. Lois has been commissioned to write for a number of chamber groups including Plus Minus, Scapegoat and the specialist new music group of Bournemouth Symphony Orchestra, Kokoro. Her work has been performed in various venues across Bath and Bristol including Bath Abbey, The Holburne Museum, The Royal West of England Academy, Darlington Hall and St George’s.

Lois has also been involved in a wide range of collaborations from working with members from the Pump Room Trio and Bath Philharmonia Orchestra to writing music for the Bath based charity The Trauma Recovery Centre and also working with film and dance.

Lois Wyatt - Composer

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