Brahms: 16 Hungarian Dances, Variations on a Theme by Haydn by Antal Doráti (2024 Remastered, London 1957-1965)

Brahms: 16 Hungarian Dances, Variations on a Theme by Haydn by Antal Doráti

Hungarian Dance No. 5 in G minor, Book I, WoO 1 (Orchestra): Allegro (Orch. Schmeling) (2024 Remastered, London 1957)

Hungarian Dance No. 1 in G minor, Book I, WoO 1 (Orchestra): Allegro molto (Orch. Brahms) (2024 Remastered, London 1957)

Hungarian Dance No. 2 in D minor, Book I, WoO 1 (Orchestra): Allegro non assai (Orch. Hallén) (2024 Remastered, London 1957)

Variations on a Theme by Haydn in B-flat Major, Op. 56 "St. Antoni Chorale": Theme. Andante  (2024 Remastered, London 1957)

Variations on a Theme by Haydn in B-flat Major, Op. 56 "St. Antoni Chorale": Theme. Andante  (2024 Remastered, London 1957)

Hungarian Dance No. 3 in F Major, Book I, WoO 1 (Orchestra): Allegretto (Orch. Brahms) (2024 Remastered, London 1957)

Hungarian Dance No. 4 in F-sharp minor, Book I, WoO 1 (Orchestra): Poco sostenuto (Orch. Hallén) (2024 Remastered, London 1965)

In 2024, I travelled to France to study Bouffon (a type of clowning) at École Philippe Gaulier. I am a musician/composer and did this to improve my stage presence, but I learned much more than I had bargained for...

The course was incredibly intense and all-consuming. However, I did find time to record a lot of 'Bouffon' sounds - laughter, giggles, swearing, shouting, and other strange noises. A central part of Bouffon practice is to mock and parody people you hate. Hence, towards the end of the course, I made a short theatre piece about frogs based upon an infamous Alex Jones quotation 'I don't like them putting chemicals in the water that turn the friggin' frogs gay!' To support me, all of my classmates pretended to be frogs engaging in... er.... intimate acts. The theatre piece was a glorious failure, but inspired Frog Buffoons.

Frog Buffoons features an electronics part that combines the Bouffon audio with frog sounds in addition to the noises produced by a French frog children's toy. It is a very strange piece, but the Bouffon course was a very strange experience.

The fixed electronics part is improvisatory in nature, in that the source sounds are recordings of me and my classmates improvising. However, the way in which I used these recordings was also improvisatory; once I had placed a recording into my Digital Audio Workstation, I did not allow myself to delete it. I had to use it and make it work via processing and recontextualising. Finally, the live melodica part (which I play myself) is entirely improvised.

Frog Buffoons

I was recording some material for another composition of mine, just outside Köln Cathedral. There were two dogs yapping at each other; I loved the sound, but it just didn't fit the piece.

I was asked to perform a piece for the Music Patron launch event at the Groucho Club in Soho, London. I decided to make a new work, using a tiny snippet of the discarded dog sounds.

German Canine Waltz Time

On the 12th of May 2025, I was shocked to discover that my wife was a stranger (at least, according to Keir Starmer). 

I have sampled Starmer's speech, reversed it, slowed it down, and processed it in an (impossible) attempt to musically counteract his Reform-like rhetoric. This is an ambient composition that can be listened to in isolation, or used as an accompaniment to improvisation. 

Strange Island

Variations on a Theme by Haydn in B-flat Major, Op. 56 "St. Antoni Chorale": Theme. Andante (2024 Remastered, London 1957)

London Symphony Orchestra

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