Recorders . Caoimhe de Paor 
Conductor . James Weeks

This work has been inspired by three Haiku, and several aspects of the poems influenced the form and content of the music. Each movement starts with a very short section aiming to recreate the spoken rhythm of its correspondent Haiku, and is then articulated following its particular structure and colouration. In this piece we explore a concerto aesthetic at the limits of anti-concerto writing, playing with the focus of attention towards the recorder to explore the softest, subtlest colours of the instrument.
____________________________

tsuru no asobi    
kumoi ni kanau    
hatsu hi kana

it's play for the cranes
flying up to the clouds
the year's first sunrise 
                                                
Chiyo-ni (1703-1775)         


Concerto For Recorder . IIIrd movement (Chamber Orchestra)

Vibraphone: James Leveridge

This piece was written in collaboration with electronic musician Christian Czornyj for a Nico Mulhy curated event: 'Electronic music Pioneers', as part of his new music festival 'A Scream and an Outrage' at the Barbican Centre. It is a stylised representation of different recordings of Earth by NASA space probes. 

(Photography: Thomas Fournil)

Representation of NASA's Space Sounds: Earth . Vibraphone & Live Electronics . Fournil, Czornyj

Conductor . James Weeks
6 voices . EXAUDI

...par fumée... is a re-imagining of 14th century rondeau ‘Fumeux fume’ by Solage, in which smoke and smoking is a recurrent theme. I derived my pitches from the harmonic series of D, creating subtle microtonal harmonies and melodies. Like the original, the singing dissolves into hazy colours and elusive harmonies all within a very low register. Additionally the score follows the tradition of Ars Subtilior repertoire, with flowing rhythms and colourful notes.
__________________________

Fumeux fume par fumée
Fumeuse spéculation

Qu'antre fumet sa pensée
Tant qu'il ait son entencion

Fumeux fume par fumée
Fumeuse spéculation
__________________________
TRANSLATION

A smoker smolders smokily
In smoky speculation

Thus he steeps his thoughts in smoke
Until he gets his way

A smoker smolders smokily
In smoky speculation
__________________________
(Photography: Thomas Fournil)

...par fumée... for 6 voices (live performance)

Recorders . Caoimhe de Paor 
Conductor . James Weeks 

This work has been inspired by three Haiku, and several aspects of the poems influenced the form and content of the music. Each movement starts with a very short section aiming to recreate the spoken rhythm of its correspondent Haiku, and is then articulated following its particular structure and colouration. In this piece we explore a concerto aesthetic at the limits of anti-concerto writing, playing with the focus of attention towards the recorder to explore the softest, subtlest colours of the instrument.
__________________________

yūdachi ni
utaruru koi no
atama kana

summer rain -
it drums
on the heads of the carps

Masaoka Shiki (1867-1902)

__________________________

yuki tokete
mura ippai no
kodomo kana

snow melts
and the village floods
with children

Kobayashi Issa (1763-1827)

____________________________

tsuru no asobi
kumoi ni kanau
hatsu hi kana

it's play for the cranes
flying up to the clouds
the year's first sunrise

Chiyo-ni (1703-1775)
____________________________

http://caoimhedepaor.com/
http://jamesweeks.org/

(Photography: Thomas Fournil)

Concerto for Recorder . I - II - III . Chamber Orchestra  (live performance)

Percussion . Peter Rayner

The electronics select partials from the live sound creating a subtle cloud of resonance following a two-part tintinnabulation counterpoint. A second layer, more active, brings the highest partials down two octaves and slowed down, creating a micro-tonal chiming texture. The quasi-hidden use of Tintinnabuli, and the rather meditative quality of the composition present an intimate homage to Arvo Pärt. Poetically, the use of bells links back to Pärt’s interest in early music, while the instrument recalls “actual” tintinnabulation.

(Photography: Thomas Fournil)

Tintinnabulation for tubular bells & live electronics

Flutes . Jack Michael Welch, Toni Berg
Percussion . Peter Ashwell

Materials composed for  choreographer Yanaëlle Thiran in "Dessus de Souffle", and re-organised to expand their gestural and meditative qualities. In this piece we first explore the song of the Common Grackle before giving it a rhythmic flow. Various multiphonics follow the spectrum of a Tibetan bowl. Strong gestural sounds confront the soundscape, and create a different sense of flow for the listener. 

(Photography: Thomas Fournil)

de souffle . flutes and percussion

Following Giulia Loi's interests in psychology and psychiatry, instruments develop a sort of mental fog using harmonies derived from clarinet multiphonics and multiphonic trills. In the face of death, our character finds comfort in a state of half-sleep, entirely turned inwards.

Text by Giulia Loi

Tenor . Adam O’Shea 
Guitar . Giovanni Cacioppo 
Bass Clarinet . Myles Wakelin-Harkett 
Vibraphone . David Merseguer Royo

TEXT

Vous pouvez
Pas fermer la f’nêtre?
Vous pouvez
Pas fermer la porte
L'air passe.

Cet homme que
Nous voyons ici
Cet homme dis-je
Est mort hier

Oh wake up
My friend
My brother
Wake up

He calls me
In the morn
And it tears up my soul
As he knocked
On that door
In our corridor

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