Expressions Of Sea Level

lottery for pianist and page turner

Premiere by Ian Pace and James Whittle
3rd August 2013, Late Music Concert Series, York Unitarian Chapel

#magicaleverytime

VIDEO: http://www.youtube.com/watch?v=BcD-GHTQHG0

This work is inspired by Kenneth Goldsmith’s 'Printing Out the Internet', "a crowdsourced project to literally print out the entire internet", exhibited in LABOR, Mexico City, 26th July to 30th August 2013 (http://www.printingtheinternet.tumblr.com).

The title is taken from a tweet by @ksheely on 14th July 2013 replying to @internetprint, who had quoted one critic’s remark:

“I don’t want my future children to live in a world with no trees but with the printed-out internet.”

Anyone can submit as much material as they like to be included in performances of this piece. Please go to http://www.james-whittle.co.uk/compositions/magicaleverytime for more details, and consider submitting!

Thanks to Kenneth Goldsmith for giving permission to use the material, and to Kent Sheely for allowing the use of his tweet as a title.

this piece gets more magical every time someone writes ill of it

Voice: Thomas Bush
Piano: Saeed Meerkhan

The song is a setting of two poems by Philip Larkin. Taken from his 1955 collection The Less Deceived, both are reflections on the nature of evening – the twilight hours where day slowly blends into night. Written with a strong sense of the English pastoral tradition, the tonality of the music shifts through various modal areas originally conceived for the harp, and thus defined by the septaphonic limitations of the instrument. This modal chromaticism is directly inspired by Larkin's diaphanous imagery and semi-sentimental vision of the rural idyll contrasted with his characteristic dour pessimism. Light and shade, tone and semitone, beat and off-beat all play against each other in this manner to achieve similar results.

Coming and Going

Preview title track from forthcoming album "The Flood" with the Lyre Ensemble

The Flood

PERSONNEL:
Tom Bush - reeds
Joao Galvao - drums
Tom Kenworthy - guitar
Agata Kubiak - violin
Leo McCulloch - keyboards
Simon Paton - bass
Anna Ralwings - trumpet

Recorded by Warren G Unit
Mixed by Deena Jackman
Mastered by Sandy Finlayson
Artwork by James le Beau Morley

Rudnick's Magic Recorder

PERSONNEL:
Tom Bush - clarinets/saxophone
Joao Galvao - drums
Tom Kenworthy - guitar
Agata Kubiak - violin
Leo McCulloch - keyboards
Simon Paton - bass
Anna Rawlings - trumpet

Recorded by Warren G Unit
Mixed by Deena Jackman
Mastered by Sandy Finlayson
Artwork by James le Beau Morley

Fu Inle Records 2015

Selling Crack to Teenagers

A piece for string orchestra inspired by the writing of Greg Egan.

It begins in chaos as players are instructed to play their favourite melody in various ways.  From this, a child melody is born.  She experiments and 'plays' with the orchestra, who cradle her.  A shock, a moment of bombast, and a final, gentle return to air to make room for the next orphan of the orchestra.

Orphanogenesis

Corneliu Cezar, "AUM", electroacoustic music.
Corneliu Cezar became remarkable after 1960 (breaking out from the proletarian cult).He was a fore runner of post-modernism in Romanian context. He is now considered rather a visionary of music than a producer of acoustic masterpieces. In the ‘60 he sustained and prophesied a new musical direction rediscovering the natural resonance of the sound within a different historical context – the idea of spectral music was going to materialize itself in Romanian tradition. After 1980 the artistic phenomena has no longer interested him. He took more distance of the ideal of skill, originality and aesthetic refinement accomplishment. After 1970 Cezar fought for the cause of recovering “the state of rendition” in music (musical expressiveness) and the composing manner he called “the organ of styles” – polistylism.
Cezar imposed the theory of sonology (as means of applying music therapy). 
(Cristina Uruc)


Corneliu Cezar: AUM

Large ensemble featuring musicians from notes inégales, Hong Kong New Music Ensemble and Lasalle School of Arts, directed by Peter Wiegold. "The Red Rays Fall" is a one-page score, that was developed by Professor Wiegold, the musicians and I, through the rehearsal process. 

Coming and Going

thmsbsh

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