Perpetuum Mobile (perpetual motion)

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

Performed by Sarah Goulding on 27 May 2014.

This short piece for solo viola is at best a vulgar impersonation of the Baroque form that lends it its title. The ground bass of the opening returns throughout, but always re-ordered and fragmented, and there is no adherence to a repeated harmonic structure. This said, the idea of repetition is clearly important here, and it may be interesting to listen to the piece with the idea of a chaconne in mind.

Chaconne was written for Sarah Goulding as part of my residency at the British Music Collection.

More information at http://scheuregger.co.uk/composition/chaconne/

Chaconne for solo viola

For orchestra, soprano and tenor (+ megaphones)

Premiere by the University of York Symphony Orchestra, Eleanor Pybus(soprano) and James Botcher(tenor) cond. Dr John Stringer. Jack Lyons Concert Hall, University of York, 10 March 2018.

Live recording by Lynette Quek.

Programme Note:

Happy are they who dwell in Your house was commissioned for the University of York's 'Lyons Celebration award' (2016/17). This annual award was set up in memory of Jack Lyons by his widow, Lady Roslyn Lyons. One of Jack Lyons' most cherished pieces was Leonard Bernstein's Chichester Psalms. The award asks composers to create an innovative project that is in some way inspired by that work.

Chichester Psalms depicts the Psalm of David. On researching the function of the Psalm, itself, I discovered the term Ashrei. In completeness, Ashrei is composed primarily of Psalm 145. The meaning of Ashrei in Hebrew is Ashrei yoshvei veitecha, od y'hallelucha, selah!, which translates to Happy are they who dwell in Your house; they will praise You, always! This is said three times throughout the day in Jewish Prayers as it is said to guarantee a place in the World to come. It is this ritual of repetition (or repetition of ritual) that intrigues me as a composer. Ritual is everywhere, not only in Religion, but also in our own daily lives. Everyone inhabits their own rituals, such as getting up and going to work etc., and amongst that they may also have their own individual quirks, all repeated on a daily basis, consciously and even subconsciously. I also think of ritual as the coming together of communities, often to celebrate the sometimes one thing they/we have in common. In music communities, there is also ritual involved in performance, such as rehearsals and the individual's quirks and rituals they have before going on stage. There is also the ritual of an audience coming together as one to listen to and appreciate the same music. In relation to Ashrei, people are happy when they are together and close to God; they are together celebrating the same cause. 

The word Psalm is derived from the Greek translation, Psalmoi, literally meaning "instrumental music" and by extension and historical use, "words accompanying music". Within the work, the soprano and tenor voices sing or speak verses from the Ashrei text in various permutations and fragmentations throughout. However, the singers are largely part of the texture/timbre of the orchestra, rather than soloists as one may expect. 

The work begins with a repeated whispered chant of the Ashrei text, in Hebrew. This is accompanied by soft ringing of three triangles and a repeated high pitch figure from the Eb clarinet, both offset by low rumblings in the pits of the orchestra. This texture gradually builds to an interruption of loud bell-like trombones simulating a call-to-prayer. Following this, the work has three distinct blocks of material (melodic interweaving, quasi-moto perpetuo and noise). These blocks are repeated and re-shuffled, each one varying in slightly different ways such as shortening and lengthening or the way in which they are represented harmonically. This for me symbolizes how Ashrei is ritualized three-times per day during the course of Jewish Prayers. The sections or blocks link into one another as a one-movement discourse, or sermon, if you will. The work ends with a punchy variation of the quasi-moto perpetuo material with interjections of the whispered Ashrei chant, ending the piece how it began.

-	Copyright   2018 James Williamson

Happy are they who dwell in your house, for orchestra, soprano and tenor

Recorded at the Royal Academy of Music, April 2013. Engineered by Roderick Buchanan-Dunlop.

Matthew Herd - alto/sop saxes
Jonathan Chung - tenor sax
James Copus - trumpet
Tom Green - trombone
John Arman - guitar
Sam Watts - piano
Sandy Suchdolski - double bass
Dave Smyth - drums/compositions

Chaconne for solo viola

scheuregger

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