Chamber and Ensemble Music (live acoustic recordings)

Swiss Brazil Connection. 

Premiere performance of Conversationl Geometry with Dirk Amrein, Posaune, Maurizio Grandinetti, Gitarrre, Jürg Henneberger, Klavier

Recorded by DRS2 Swiss Radio

Aufnahme Gare du Nord Basel, 17. Dezember 2010

As the title suggests, conversational Geometry is a conversation between three voices; guitar, trombone and piano. This conversation is sometimes delicate and at other times robust and confrontational presenting complex musical layers in constantly changing relationships. The piece is formed by bringing together the music from three other pieces of mine and 'mashing' them together. This process is not as arbitrary as it may sound; all the material brought together comes from pieces that stem originally from the same material, so the links are deeply embedded within them. These links become apparent after listening to the music several times as its complex interweaving of lines can (purposely) obscure these relationships rather like several people talking about the same topic at once but not actually talking to each other.

As explaned in previous interviews:

"New works are also originated by recycling existing pieces of music through changing contexts and relationships, transforming this material into something quite new. Many of the acoustic pieces I write find their starting point from within other pieces of music I’ve already written.
I am fascinated how altered contexts can radically redefine the way musical material feels and sounds. Transplanting different layers, voices or strands of music from one piece to another, altering tempi and dynamics, transposing, inverting, and then letting those strands sound out together; all of these methods fascinate me.
Like the music, my paintings are often produced in series, each painting being influenced by the former. Sometimes I will paint two or three pictures at the same time, each sharing the same starting point, layers and processes until something happens to make me want to separate them and explore them in different ways. In music, the recycling of material ensures that there is a ‘genetic’ connection between all the works – sometimes up to 15 individual pieces may be connected in this way. They are like sons and daughters, cousins, five times removed. With this ‘genetic’ material comes history, characteristics and content. In music, as with people, the way this genetic material is ‘lived out’ determines the character and make-up of the person or piece. This can lead to very individual outcomes."

 

Conversational Geometry (2009)

One of the 'on a theme of Hermes' modules

Hermes 25

Commissioned by Manchester Pride Chamber Concert Series. Premiere recording of ERIS for flute and viola, performed by Kevin Gowland (flute) and David Aspin (viola). Concert series produced by Les Pratt. The premiere took place at the Cosmo Rodewald Concert Hall in Manchester University on the 23rd. August 2011.

Eris (Greek Ἔρις, "Strife") is the Greek goddess of strife and discord, her name being translated into Latin as Discordia. Her Greek opposite is Harmonia, whose Latin counterpart is Concordia. Homer equated her with the war-goddess Enyo, whose Roman counterpart is Bellona. The dwarf planet Eris is named after the goddess.

This work is rich in quarter tones and demands great technical and emotional facility from both players.

ERIS

One of the 'on a theme of Hermes' modules. See SATSYMPH website for more info http://satsymph.co.uk/projects-and-events/musicwordscapes-2/musicwordscapes

Players from the Bristol Ensemble include:
Stephanie Gilbert (flute/piccolo)
Christopher Regate (oboe cor angalis)
Roger Heaton (clarinet/e-flat clarinet/bass clarinet)
Jo Mayne (bassoon contrabassoon)
Roger Heaton (violin)
Bernard Kayne (viola)
Robyn Austin (violoncello)
Eluned Pierce (harp)
Jeremy Little (percussion)

Hermes 5

Hermes 30 (14)

Marc Yeats is an internationally renowned composer and visual artist whose compositions have been performed by the most noted of orchestras and ensembles across the globe. These include UK companies such as The London Sinfonietta and The Scottish Chamber Orchestra, the BBC Philharmonic and the Halle Orchestra and Chorus. Further afield, Marc’s work has also been performed by the Tokyo City Philharmonic, the Atlanta based, Chamber Cartel, and many others. His compositions have gained great acclaim through many radio broadcasts for the BBC and also been broadcast in many other countries including the US, Germany and New Zealand.

Marc’s relationship with the BBC is both strong and enduring, starting with a BBC Scotland performance by the Edinburgh String Quartet more than 20 years ago. His first orchestral work – I See Blue – conducted by Martyn Brabbins, received much acclaim when first performed around the same time. This led to specific BBC commissions, including a piano concerto to open Piano 2000 in Manchester, with Kathryn Stott as soloist, and a solo harpsichord piece ‘Rhema’, performed by Mahan Esfahani and broadcast in 2010 by BBC Radio 3 from the Clothworkers’ Centenary Concert Hall in Leeds.

Selection as one of just 10 to attend the legendary Hoy Summer School in 1994 brought Marc into contact with the late Sir Peter Maxwell Davies. At the completion of the course, Max was keen to support and promote Marc’s work, and conducted his first commission with the Scottish Chamber Orchestra at the St. Magnus Festival in 1997. He and Marc continued to share ideas, and Max took a great interest in Marc’s visual art and compositional work with mobile technologies and a range of asynchronous structural approaches to composition.

Marc is excited to have recently been appointed composer-in-residence to Yeovil District and Dorchester County Hospitals, a position he has also held with other UK and US organisations. Work such as My Blood Is As Red As Yours’ (an orchestral and choral piece commissioned by the Halle to celebrate World Aids Day in 2008 and performed at the Bridgewater Hall) and recent work, such as ‘shapeshifter’ and ‘the observation quartets’ continues to enhance his reputation as a leading contemporary composer.