Richard Wagner - Tristan und Isolde Prelude(Midi Mockup)

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

'A Million Miles Away' by Martin Higgins

Showcasing 8Dio's 'Agitato Strings Series' & '1969 Legacy Piano'.

8Dio 2016 Stand Out Contest Submission: “A Million Miles Away” by Martin Higgins

Maybe if Erik Satie had improvised around his exquisite miniatures during quiet moments at Le Chat Noir, it might have sounded a bit like this.... my teeny tiny tribute to this most indispensable, influential but also most lonely and misunderstood musician.

Thoughts and Expansions on "Le Yachting" (1914) by Erik Satie

A wilful exercise in naivety and innocence, this is a radio and laptop friendly version of a little fantasia.  I wanted to try what for me were new ways of making sound - eg, leaving real drums alone for once! However, despite the synthetic approach, everything was played in real time by myself.

Strolling through the Old Town (Demo)

Examples of vocal writing. Short instrumental prelude 0.00 to 1.109; 1.10 extract from At Boussa Falls; 2.14 extract from Dies Irae; and 2.48 extract from The Waterfall. Donald Maxwell and Gwenneth Ann Rand (Jeffers). National Youth Orchestra of Scotland plus Fraser Fifield (Scottish Whistle) Corinna Hewat (Clarsach) and Olly Cox (percussion). The music spans african, scottish traditional and classical idiomatc approaches. NOT high quality - mp3

Flyting Examples

Extracts from Flyting - Instrumental and Vocal Work

Mentalmente

Mentalmente (feat. MC Kevinho)

Ocean Land

'I'll Be Here' performed by Deborah Crowe (Mother) and our wonderful ensemble. 
Cadogan Hall 21.1.18
Music by Alex Parker | Lyrics by Katie Lam
Orchestration by Martin Higgins | Sound Design by Andy Josephs

I'll Be Here from 'The Railway Children'

This is the second of four movements from the Flyting Concert Suite.  This piece starts with an elegy for Low D Scots Whistle, followed by a a duet for Soprano and Bass with strings and, piano, celeste and percussion and is an imagining of the final moments of the life of the early 19th century explorer, Mungo Park's life.

02 - At Boussa Falls(1)

This is the third and forth and final movement from the Flyting Concert Suite. Flyting takes its name from of 16th century performance poetry, akin to modern rap. Flyting as a movement itself is an instrumental work for the whole orchestra but featuring Scots low D whistle which segues into a setting of William Soutar's poem, "The Waterfall" 

03 - Flyting segue into The Waterfall(1)

Composer, Producer and Director working in opera

Extracts from Flyting - Instrumental and Vocal Work

matthewrooke

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