'Heart, we will forget him' - Copland

Soprano - Sophie Price
Piano - Berrak Dyer

October 2021

Heart, we will forget him - Copland

Entropy II - An improvisation for performer, loop pedals, and optional additional electronics.

Composed and performed by Thomas Foster

thomasfostermusic.com

Entropy II

ash relics

Silje Aker Johnsen - Soprano/ Tre Voci Cello Ensemble

Anuras

Another piece with the same tuning and pattern of the previous.

just jazzy

POGO
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Define

Written in response to John Constable's Seascape Study: Boat and Storm Sky, 20 July 1828; as part of the Royal Academy of Arts' 'In Tune with the RA Collection'. 

Bass Clarinet - Jonathan Leeds
Bass Guitar - Matthew Lomax

'Drowning In The Din...' responds to how Constable's coastal scene balances areas of the naked canvas with raw, animated brushstrokes. 

The exposed framework of the painting is reflected in the subtle clicks, breathes, shakes and buzzes that reverberate from the frameworks of the bass clarinet and bass guitar; and the vibrant gesture of the brushstrokes influenced the live electronics which consist of brushstroke recordings, triggered and manipulated in response to how the two instruments move and interact.

Drowning In The Din... - Bass Clarinet, Bass Guitar and Live Electronics [2018]

Insectivorous grew from a fascination with the movement of carnivorous plants and the mechanisms that they have developed to capture and break down prey.

With each section of the piece following different stages of the plants' feeding processes, the ensemble itself becomes an organism that treats musical material like prey - dissolving, tearing and transferring it across different instrumental groups.

First performance, Conductors Podium Concert - Royal College of Music

Conductor -Vicente Chavarría

Insectivorous - Chamber Orchestra [2019]

Written for RCM's Wind ensemble and performed in the Amaryllis Fleming Hall on the 1st of November 2019, conducted by Avi Taler.
Instrumentation: 2 Flutes, 2 Oboes, 2 Clarinets, 2 Horns, 2 Bassoons, Percussion and Double bass

Clouded Vision

Matthew Lomax is a Sunderland-born contemporary classical and electroacoustic composer based in London. His music is noted for balancing fragile, unsettled timbres and melodic lines with sudden, dramatic shifts between densely layered and stark textures. Often inspired by field recordings and images that capture everyday life, his music finds states of disconnect and separation in these moments; exploring the boundaries between noise & silence, density & space, motion & stillness. Many compositions respond and incorporate other artistic mediums such as architecture, sculpture, speech and movement.

Matthew has written for ensembles across the UK including The Cats Cradle Collective and No Dice Collective, as well as collaborated on works with painters, video artists, photographers, dancers and spoken-word poets. In 2020, the audio-visual installation Through Fractured Mirrors was commissioned by the Royal College of Music to feature in the newly-developed RCM Museum building, co-created with Connor D’Netto. The work B|O|R|D|E|R|S for guitars and electronics was selected for performance in the National Portrait Gallery as a response to photography finalists of the Taylor Wessing Portrait Prize 2017. The following year, Drowning in the Din… for Bass Clarinet, Bass Guitar and electronics was performed on a number of occasions in response to the Royal Academy of Arts’ collection of John Constable sketches in their permanent exhibition space. In 2019, Matthew collaborated with dancers and choreographers from the Central School of Ballet to create Non-place Ballet for chamber ensemble and electronics as part of the RCM Great Exhibitionist Series, alongside co-composer Connor D’Netto and the Cats Cradle Collective. Matthew was honoured to be selected to compose How The Great News Was Received for string quartet and harp as part of the RCM’s World War I centenary concert.

Matthew is a recent alumnus of the Royal College of Music, having studied composition with Haris Kittos and electroacoustic composition with Michael Oliva as a Clifton Parker award holder and previously as an RCM award holder supported by a Douglas and Hilda Simmonds scholarship. During his initial studies in composition close to home at the Sage Gateshead’s Centre for Advanced Training, and through the exploration of computer-based composition at the University of Manchester, Matthew developed a musical language that incorporates the physicality and sonic qualities of natural phenomena, visual arts, and architecture to create a tactile musical experience. 

Later in the year, the audio-visual Through Fractured Mirrors will be premiered in the Royal College of Music’s newly-developed museum building.