jarring noise at around 3.37 and other places? Still don't reeally understand the concept, I'll have to ask you again when we next meet up. I'm sure this is somehting I can use in my word-stuff. Greatly enjoyed!

I enjoy the concept of the composition,...2 parts are written out to be performed independently, the composition assures that the ovelaps are productive, not cancelling.  The implicit situation is that playaers will inevitably pay attention to each other too...Beautiful idea, fantastic performance, recording and processing....

I enjoy the contrast in timbres hapr and piano, moments of difference and blending...I enjoy the pedal buzzing too, infact would love to hear more pedaling, perhaps some stroking into the strings by the pianist too....

@wilhelm-matthies: Thank you. Yes, the concept I have been working on for the past few year is now coming to fruition and I'm thrilled to say it works for my musical intentions. The results can be quite mesmerising. There are 7 more recordings to come from this series, some much more complex and violent in their interactions. It's been an exciting project.

Very nice. My bet is that the performers are equally excited as they really have to take ownership of the piece to make it work. They are co-creaters, not just actors. I love that!

tell us about the artwork. Tagentially related, or meant as a graphic compsostion?

Track from the forthcoming CD and download of Marc Yeats' 'the shape distance' pieces for ensemble' recorded by Chamber Cartel. 

Studio recording from Chamber Cartel. This iteration 'the shape distance [11] for harp and piano' features Chamber Cartel members Connor Way [harp] and Amy O'Dell [piano]. Engineered by Thomas Avery at 800 East, Atlanta US, December 2013.

'the shape distance [11] for harp and piano' extends the recent set of unsynchronised works 'the shape distance', originally a series of seven pieces constructed somewhat akin to ‘Russian Dolls’ in that each contains the same or similar core material that is ‘enclosed’ by other layers of material. 

notes:
The musicians play independently of each other. Music is cued to begin only, with no ‘fixed’ synchronisation between the players. The pianist is instructed to begin approximately one minute after the notation for the harp begins. Whilst the relationship of each instrument is flexibly placed against its neighbour, care has been taken to calculate potential outcomes of coincidence and variability. To this end it is vital that metronome markings are adhered to as accurately as possible although the composer appreciates that it is the various interpretations and practicalities inherent in the realisation of tempi that contribute to the richly unique nature and interplay of each performance.

There is only one instructions to the players; to begin where indicated and play until their material is finished. This recording represents an iteration of the music; one possible outcome of many.

The score and parts
I have not produced a score for this piece as difficulties and variables associated with displaying the musical material in vertical alignment as represented in real time are considerable. Each performance will yield different results, interplays, gestural and harmonic references and outcomes. As a result, the material contained within the piece can only be read via the two piano parts. Consequently there is no ‘definitive’ performance of this music – each performance will be unique.

The Shape Distance [11] for Harp and Piano

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.

Comments

Utsyo Chakraborty

Sound Awakener

shoreclare

shoreclare

Wilhelm Matthies

Wilhelm Matthies

Marc Yeats

Wilhelm Matthies

Wilhelm Matthies

Ralph Hoyte