Tenor - Rory Johnston
Piano - Greg Reid

The emotions of losing a loved one are what Nostalgia aims to explore. The poems, written by Eli Carvajal, fall into an arc of sweet remembrance followed by sorrow and then a realisation of loneliness. This is mirrored by their use of seasonal themes, beginning with the summer sun and ending with bare trees in winter. 

The introduction attempts to evoke the protagonist’s despair, forcing an escape from reality through fleeting memories. Initially quite joyful; each passing song darkens the protagonist’s reverie until it is eclipsed by an overwhelming crisis; Realisation, the piano interlude, which marks the beginning of a downward spiral of depression.

Throughout this song cycle I combine the wistful lyricism of German Lieder written by composers such as Schumann, Schubert and Wolf, with the ethereal sound world of Toru Takemitsu to try to achieve a sense of timelessness and reflection. 

The cycle is left open ended, with the protagonist singing of their isolation, and reminding the listener that sometimes in life things don’t resolve the way we’d want them to.

Dedicated to Paul James Moscardini



Nostalgia - Song Cycle for High Voice and Piano

RESPONSE (2020)

VI. Realisation

V. Lady Willow

IV. Melancholy May

III. Like the Dove

I. In the dark... & II. What did we say

‘KINTSUKUROI:(Golden Repair)’ is a short orchestral work based on a Japanese form of pottery art in which broken pottery is mended back together with Gold instead of glue. This creates individual, fragile golden seams across the pot as they naturally occurred. In this piece, fleeting and delicate lines encircle the opening above a dark, undulating texture that builds until it suddenly breaks, which resembles the shattering of the pot. We are then placed into a constant and iridescent soundworld reflecting the intentions of the art form; it has been made more beautiful by having been broken.

Performed by RNCM Brand New Orchestra (13/10/16) conducted by Manoj Kamps.

KINTSUKUROI: (Golden Repair) (2016)

‘Double duo’ was composed as a vehicle for performers to have the freedom to explore their own instincts, amid the physical sensation of performing in a resonant space. Durations are chosen by the performers, and entries are guided by position in the score rather than being specifically prescribed. Expression of a phrase is determined by each musician’s reaction to, or inspiration from the other players.

Performed by 
Pietro Roffi - accordion, Italy
Maris Rozenfelds - accordion, Latvia
Ignė Pikalavičiūtė - cello, Lithuania
Arnas Kmieliauskas - cello, Lithuania

Recorded at Raudondvaris Castle, Lithuania during the Composers+Summer Academy on 25 August 2017.

Recording produced by Dainius Kazilionis.

More info at www.composersplus.com.

Joshua Brown – Double Duo (for two accordions and two cellos)

Performed by Festino Chamber Choir (cond. Alexandra Makarova) at 47th Florilège Vocal de Tours, June 2018.

Summons

Winner of BBC Young Composer 2020

TW; Rape/Sexual Assault

This piece was inspired by a twitter thread which contained quotes said from judges to victims in rape trials. All of the phrases heard at the start of the piece are genuine comments made to victims of rape. ‘What I was Wearing’ is a poem by Mary Simmerling which inspired the 2013 art installation ‘What were you wearing?’. The piece uses the words of this poem, read out over the top of sung music. The music represents the speaker’s emotions, to create a moving and thought-provoking piece of music which leaves the listener stunned.

What Were You Wearing? (2020)

A reflection on Rebelo's 'Panis Angelicus'.

VI. Realisation

rorywainwrightjohnston

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