I decided to give this piece a more appropriate name. I think the title Weld makes perfect sense as there is a general metallic quality to the sounds and the different temperaments that are used (22EDO (guitar and synthesisers) and two microtonally displaced 1/4 comma meantone scales juxtaposed on top of each other(harpsichord)), thus welding the pitch material together in a metaphorical sense into one complex universe.

I'm hoping to arrange a studio recording of this work at some point and maybe rework a couple of things towards the end but was very happy with this live performance in any case :)

For amplified microtonal harpsichord, 22ET (equal temperament) 7 string electric half fretless baritone guitar, 2 percussionists and 22ET synthesisers
Live recording at CNSMDP (Conservatoire National Supérieur de Musique et de Danse de Paris) - September 2021

Harpsichord - Philippe Hattat
Guitar - Samuel Taylor
Percussion - Cyprien Noisette
Gongs - Louis Quiles
Synthétiseurs - Esther Assuied

Weld (Prix de Master CNSMDP - 2021)

For saxophone, accordion and percussion. "Hydraulic action is the erosion that occurs when the motion of water against a rock surface produces mechanical weathering."
Performed by Evgeny Novikov (Saxophone), Yohann Juhel (accordion) and Ming-Yu Wen (percussion) at the Paris Conservatory.

Hydraulic Action (2017)

For saxophone (tenor and soprano), accordion and piano. Performed by Eudes Bernstein, Vincent Gailly and Orlando Bass and recorded by Aloïs Lang.
"Clocca" means "bell" in medieval latin and Celtic and "gangsa" is the name of one of the metallophone instruments used in Balinese and Javanese Gamelan music. In this piece, the piano is prepared with special pegs which produce harmonics in the low register which creates a sort of scale that ressembles the sound of Gamelan instruments such as the gangsa or from a western perspective, the sound of bells. I chose this title as it represents my mix of western and eastern influences, both of which can be heard in this piece :)

Of Cloccas And Gangsas

I wrote this text as a way to free myself from the seemingly never ending obsession with triviality that, albeit a necessary force in some respects, plagues the contemporary arts. The poem is paradoxical, demonstrating that by trying too hard to not repeat ourselves, we unconsciously repeat our ways and methods of creating. "Two and "Things" are capitalised, while "one" and "way" are not, signifying the importance that we give to "things" or physical manifestations, compared with "ways," "methods," or "principles," which are of not physical in nature, in Western culture. The style of the poem is inspired by Laozi and Zhuangzi, on whose writings the principles (or non-principles one could say) of Daoism are based. The word "dao" (道) in mandarin Chinese translates loosely to "way," "path," "principle," or "method." The emphasis on "ways" in this poem is hence a reference to Daosim and eastern philosophy in general.

One avoids repetition by
always trying
to never do
the same thing
twice

By using this one method
every day
you can do
the different thing
every single time
the same way

Commissioned by and premiered at the Voix Nouvelles Academy at the Abbaye de Royaumont in September 2019.
Performed by the Mivos Quartet and Les Metaboles.

Two Things; one way (Les Métaboles, Mivos Quartet)

For electric guitar and ensemble
Performed by musicians from the Ensemble Intercontemporain, DAI students from CNSMDP and Samuel Taylor (electric guitar)

I have a deep attraction to the ruggedness of forests and the intense vibrations they emit. Although this piece was not directly inspired by forests, nor is it programatic in other sense for that matter, I feel it brought the nature lover out in me. I think of my music a bit like an English garden, in which the ruggedness of nature is allowed to resonate, with the gardener guiding plants rather than forcing them into geometrical shapes and forms. While I do write very precise harmonies, timbres and textures, I like to allow the music to breath and flow in a way that reflects the natural textures, motions and layers of a forest.

Quakin' 'n' Groovin' (Ensemble Intercontemporain)

For Accordion Duo, Electronics and Narration

The idea behind this commission from the Duo Jeux d’Anches was to set a Charles Perrault fairy tale to music in a way that it is accessible to children. I chose “The Fairies” (Les Fées) as I was inspired by the inherent links between the dualities in the text: kind daughter and evil daughter, and those within the musical setting itself: two accordions; accordions and electronics; music and narration etc. Each accordion is associated in a subtle way with one of the daughters and there are two electronic parts which are also delicately linked to each accordion/daughter.

Performed by Vincent Gailly and Ambre Vuillermoz (accordions) and Narrated by Samuel Taylor
Performed at CNSMDP in 2019

The Fairies (2019)

Composer, guitarist in Melbourne

New music on YouTube: https://youtu.be/84-LhfkWc6E?si=jpnkw_JqoSnfxcko

@microtonalmaverick (YouTube & Instagram)

Samuel Taylor

Popular tracks