Inspired by magnetism, Lodestones considers the violin and piano to be separate magnetic currents that interact with one another. The process of attraction defines much of the opening section, with both instruments frequently colliding with one another and exchanging motivic ideas. Closely intertwined in the more static middle section, the violin and piano soon begin to diverge and demonstrate the influence of repulsion. This separation continues and both instruments eventually fade away into registral extremes, unaffected by the magnetic presence of the other. To emulate this sense of magnetism harmonically, bluesy sonorities which oscillate between major and minor intervals can be heard throughout the piece (particularly in the slower middle section).


Lodestones was performed by Rachael Masterson (violin) and Ciara Moroney (piano) at MTU Cork School of Music in November 2021.

Lodestones (violin and piano)

Over the past year, I have been fascinated by the correlations which exist between music and the visual arts. Synaesthetic composers such as Olivier Messiaen and their descriptions of how certain musical sounds can evoke particular colours inspired me to explore a world where music and art are linked.

Harmony, instrumental timbre and register play an important role in conveying four particular colours – orange, green, coral red and indigo. These musical parameters work together to evoke emotional responses which are intended to closely match the feeling or reaction a person may have when they experience the visual manifestation of a particular colour.

This work was performed by the University of Manchester Symphony Orchestra in the Cosmo Rodewald Hall in March 2022.

Litmus Papers (orchestra)

Imperium features a series of highly charged dialogues which are defined by the struggle for power between two opposing forces, violin 1 and violin 2. Violin 1 is aggressive, unpredictable and invasively attacks the more passive and subdued drones in violin 2. As the piece progresses, violin 1 becomes more erratic and pulls violin 2 into a fast-paced, agitated and intense section where both violins battle to establish their own identity. 

'Imperium' was performed by Diane Daly and Katherine Hunka at the SCS Killaloe Music Festival on 5th June 2022. It was also broadcast by RTE Lyric FM on ‘The Full Score with Liz Nolan' Show on 15 May 2023.

Imperium (violin duo)

The recording was produced by Psappha Ensemble on 5 September 2022 and features Ben Powell, the Ensemble's newly appointed Artistic Director.

Quiver is a blues-inspired piece which explores the piano’s resonance. Alternating meters along with the use of octaves in the upper register create a sense of brightness and propulsion from the outset. The piano’s resonant capabilities gradually become more prominent through the use of increasingly colourful harmonies. Relentless rhythmic activity, increased chromaticism and larger registral spans eventually drive the piece towards an emphatic climax, where the pulsating material finally gives way to rich, sonorous chords. Freed from rhythmical constraints, Quiver concludes on a more expressive note and alludes to some of the earlier motivic ideas with greater freedom and sensitivity.

Quiver (solo piano)

Live performance by Eastman Percussion Ensemble: Sarah Persichetti, Sam Um, Emily Park, Max Kanowitz, Jarryd Elias, & Sean Lowery.

Catching Shadows - Percussion Sextet

In Flux is defined by harmonic fluctuations and the turbulent search for a resolution which can never truly happen: that between our 12-ET tuning system and the overtone series. 

Beginning in a dark and static sound-world, the music slowly brightens with alternating major and minor sonorities that emulate the overtone series in 12-ET. These overtone-inspired harmonies along with an increase in textural vibrancy propel the piece to an emphatic climax. The wonderful clashes that exist between the natural overtone series and 12-ET are eventually revealed at the end. Irreconcilable, these two mutually exclusive phenomena fade away to an ethereal accord. 

In Flux was workshopped and recorded by Psappha Ensemble on 20th March 2023.

In Flux (flute, violin, cello, piano)

Before the Dawn (2023)
for band

(reading demo recording)

Before the Dawn was written to honor the teaching career of Mr. Dave Gott, who served as Director of Bands at Haslett High School in Haslett, Michigan for 19 years. It was commissioned by the Haslett High School Band Boosters. Before I started writing this piece, I visited the Haslett High School Band to ask about their experiences with Mr. Gott and to brainstorm ideas for the piece. What struck me most about their observations and memories of Mr. Gott was how he had helped so many of them do things they themselves did not think they could do, both personally and collectively—he saw potential in them that they could not yet see and helped them achieve goals they could not have even imagined.

I am also fortunate to call Dave Gott my friend. For as long as I’ve known him, he wakes up well before dawn, getting a head start on the day. For me, this time when the deep blue night sky moves toward day through hues of glorious red and orange is a time of hopefulness, joy, and optimism—it feels like anything is possible. My hope with this piece is to capture that feeling—the same optimism, hope, and inspiration that Mr. Gott brought to every student that entered his classroom—and to celebrate it through music. A simple melody rises from the distant horizon, repeating and expanding each time as more voices join. Eventually the melody gives way to unbridled energy, joy, and wonder, with soloists and sections collectively weaving their own unique variation of the melody into a colorful tapestry.

Before The Dawn

This piece (for SATB choir a cappella) explores the strong progressions from darkness to brightness and from restriction to expansion in Emily Dickinson’s poem, ‘From the Chrysalis’ . Tightly spaced lines and dark harmonic clusters attempt to emulate the constriction of a cocoon at the beginning. The chrysalis gradually opens to reveal the boundless sky and meadows in the form of resonant chords, soaring lines and modes which radiate the refreshing colours of spring. 

This extended excerpt was performed by Somnium Chamber Choir at The Holy Name Church in Manchester on 5 May 2023.

From the Chrysalis (excerpt) - for SATB choir

Performed by RNCM Saxophone Quartet
Composed 2014

Vidurent Omnes

Their Eyes Are Fireflies (concerto for tenor trombone and wind ensemble)
[2017]

Mvt. 1 – Beginnings
Mvt. 2 – This song makes my heart not hurt 
Mvt. 3 – Izaak's Control Panels

Performed by: Tim Conner, soloist; Robert Carnochan, conductor; University of Miami Frost Wind Ensemble

Commissioned and premiered by a consortium of wind ensembles and trombonists led by Ava Ordman and the Michigan State University Wind Symphony, Kevin Sedatole, conductor.

Program Note:

I often wonder what it’s like to see the world through the eyes of my children. I have two sons, Declan and Izaak, and, at the time of writing this piece, they were ages two and four, respectively. The title, Their Eyes Are Fireflies, is a metaphor for the magic and joy they bring to my life. The light in their eyes—both the way in which they take in the world with wonder and amazement as well as the way they add light to the world with their innocence and joy—has shaped and changed my perspective in profound ways.

For Declan, at age two, there are so many beginnings, so many firsts, so many discoveries, and so many adventures. The first movement begins with an extended trombone cadenza in time, building from the foundations of the instrument into increasingly accelerating, ascending, and ecstatic waves and surrounded by distant echoes and a halo of dimly twinkling lights. These waves finally burst, revealing a distorted image of the beginning—cascading waves of sound that finally come crashing down like an overgrown tower of toy blocks.

The second movement, This song makes my heart not break, is for Izaak. One day he said this exact phrase, and its simplicity and directness stopped me in my tracks. For me, this very unadult-like turn of phrase contained something special—both a recognition and admission of pain but also a turning toward healing. This music is my humble meditation on Izaak’s words.

The third movement is entitled Izaak’s Control Panels. Izaak loves to draw and paint. One of Izaak’s favorite subjects has been ever more fantastical control panels. We have piles of these controls panels in our house, carefully created using pencils, pens, markers, and paint on sheets of paper of varying sizes and colors. These control panels are connected to airplanes, race cars, boats, helicopters, and even strange, imaginary machines that he’s created both in his imagination as well as with Legos. What’s more, the panels often contain gadgets and gauges for unusual and awesome purposes, including to measure the level of mint chocolate ice cream (his favorite flavor), chocolate milk, pasta, as well as typical things like speed, altitude, and fuel. This music comes from looking at the world through the creative and surreal lens of a four year old—motoric, machine-like music for building imaginary worlds is disrupted by the playful smashing, destruction, and recreation of those worlds, culminating in a spectacular and bizarre place where time flows backward, objects fall up rather than down, and airplanes come with milkshake gauges.

Their Eyes Are Fireflies

Murrough Connolly is an award-winning composer and classical guitarist from Tralee, Co Kerry. Currently based in Manchester, he is studying for a PhD under the supervision of Prof. Camden Reeves. Through harmonic invention and meticulous attention to detail, Murrough’s work seeks to challenge conventional harmonic practices by blending classical, jazz and blues styles in unique and fascinating ways.

In line with his PhD project, many of Murrough’s compositions combine contemporary classical processes (most notably spectral techniques) with jazz music. However in recent times, his harmonic explorations have inspired him write pieces which attempt to connect visual colours with harmonic colours (Litmus Papers and Ildaite). In these works, harmony, instrumental timbre and register play an important role in conveying the unique properties of visual colours.

Murrough’s music has been performed by a wide range of outstanding performers and ensembles across the UK and Ireland, including: Psappha, Quatuor Danel, Katherine Hunka, Trio Atem, The Scotia Ensemble and The Irish Guitar Quartet. 
Visit Murrough's website for more information:

https://www.murroughconnolly.com/

In Flux (flute, violin, cello, piano)

Murrough Connolly

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