The sixth movement of a song cycle, 'Montségur' written for soprano and string trio, 'Ar em al freg temps vengut' has become the most popular song from the cycle. Written in the Occitan language, Montségur uses six texts from six Trobairitz - female troubadours from the 12th and 13th century.

This piece was premiered at Birmingham Conservatoire on 8th May 2012.

Ar em al freg temps vengut
Quel gels el neus a la fainga
El aucellet estan mut
C'us de chanter non s'afrainga

Now we have come to the cold time
When the ice and the snow and the mud
And the birds are all mute
For not one inclines to sing

Many thanks and best wishes to:
Soprano - Kirsty Williamson
Violin - Sam Paine
Viola - Eileen Smith
Cello - Rachel Steele

Montségur: Ar em al freg temps vengut

A piece about Autumn and the colourful leaves falling to the ground and turning to sludge

'Decaying', Performed By Birmingham Contemporary Music Group

The pressure that the views of society put on individual people is explored. The soprano, torn between her desires and her conscience, finds herself under an omnipotent, watchful eye (tubular bell and organ) as she prays for forgiveness for her sins, whilst in the meantime she finds herself surrounded by temptation (violin and cello). Her battle is a constant one between traditional morality and her need to break free from conservative restraints.

The title is used ironically, as they are often the words used by outdated conservative forces to push the idea of the degradation of society at the hands of progressive movements.

This piece was a shortlisted for an award in the Philip Bates Prize 2013.

Soprano: Carrie-Ann Williams
Violin: Rachel Roberts
Cello: Sara Gale
Tubular Bell: Chris Shakeshaft
Organ: Jonathan Stamp

When Morality Becomes Lax

Three Hull Folk Songs, based on original folk melodies

1. Hedon Road Gaol
2. The Dalesman's Litany
3. The Beggar Wench of Hull

Pianist: Tom Armitage

Three Hull Folk Songs

This short piece is collected in '70 More Variations on "Twinkle Twinkle Little Star"', published by Shanghai Conservatory of Music Press.

70 More Variations on "Twinkle Twinkle Little Star"

Twinkling

Set to fragments of an anonymous text, 'Winter' is performed here by soprano Mary Wiegold, with the composer at the piano.

Winter

Suetonius’ aria from the opera, Boudicca, with a libretto by Tama Matheson.

Dedicated to Trevor Eliot Bowes.

Bass: Trevor Eliot Bowes
Piano: Tom Armitage

"And So We Cast Our Fortunes In The War", Suetonius' aria from the opera, 'Boudicca'

The Roman Woman’s aria from the opera, Boudicca, with a libretto by Tama Matheson.

'The Roman Woman's Lament', from the opera, 'Boudicca'

'Lasciatemi Morire', written for a capella SATB choir, and performed here by the first year singers of the Royal Birmingham Conservatoire in 2011.

First Year Singer's Concert 2011

Lasciatemi Morire

The second nocturne from 'As Above, So Below', a cycle of five Vitruvian Nocturnes for solo piano. This nocturne is a piano transcription of "Ar em al freg temps vengut" - the sixth movement from the song cycle, 'Montségur'.

Performed here by Michael Finnissy.

Michael Finnissy Plays 'Vitruvian Nocturne No. 2' From 'As Above, So Below' By Tom Armitage

Recorded Live: May 4th, 2017
Pianist: Tom Armitage

As Above, So Below is a collection of five Vitruvian Nocturnes - nocturnes inspired and shaped by the nature and influence of Leonardo da Vinci's 'Vitruvian Man'.

This collection of nocturnes deals with the duality between the stillness and fantasy of the night and, as Vitruvian Nocturnes, thus also dealing with the duality between materialism and humanism. Each nocturne is accompanied by a quote attributed to a humanist author. The theme of duality, prevalent in Catharism, is continued in these nocturnes with references to Catharism's cultural cousins - the troubadours.

As Above, So Below: Five Vitruvian Nocturnes For Piano

This live recording of 'Domna' was performed by the composer for the first time on 7th November 2018.

A Partimen is a museo-literary genre closely related to the Tenso, widely used by troubadours and trobairitz in Occitan culture. It is a political debate poem between two troubadours, often accompanied by music. One troubadour poses a subject or dilemma in the form of a question, offering two options for the other troubadour to defend. The other troubadour then defends the opposite side of the debate. This approach fosters a fully-rounded and broad conclusion by encouraging discussion without emotional interference, which can be beneficial for heated topics.

In troubadour literature, the art of chivalry aimed to elevate women as objects of sexual desire. However, contemporary chivalry is often considered highly sexist and outdated, yet it still persists under the guise of respect. Examples include men opening doors for women, pulling out chairs at dinner, or paying the bill. These actions are deeply ingrained in our social culture. In troubadour literature, these desired and often unattainable women are referred to as the Domna.

Despite the presence of chivalry, Occitan society in the Middle Ages was relatively liberal and gender-balanced compared to typical societies of that era. Although not achieving full equality, women enjoyed more freedom than their European counterparts. They could own and manage estates and, in some cases, have extramarital relationships. This was particularly common when noblewomen's husbands were away fighting in the papal crusades in the Holy Land. Occitan society as a whole was progressive, with patronized literature of the troubadours celebrating extramarital affairs and a more liberal interpretation of love. The religious landscape was also diverse, with little friction between different religious factions. Catholicism held less influence in the region, allowing for coexistence between Catholic churches, synagogues, and mosques.

Domna, a partimen for solo piano, is intended to be performed by a pianist in drag. With the understanding that gender is a social construct separate from biological sex and exists on a spectrum, this piece explores the performer's internal perception of gender identity and challenges typical gender norms. It is a debate within oneself, rather than between two participating troubadours.

'Domna', A Partimen For Solo Piano

Arthur Rimbaud said the words, ‘Je est un autre’, meaning that the inner-self is something undefined and foreign.

In this piece—a setting of Rimbaud’s poem Antique—the Classical image of beauty, expressed through the static imagery of the hermaphroditic faun, is twisted into a modernist figure of grotesqueness, as the creature comes to life.

Premiere performance by POW Ensemble on 12th September, 2023 at Spazju Kreattiv, Valletta, Malta, as part of EuroPride Valletta 2024.

Je est un autre

A short piece for piano by Tom Armitage, performed by the composer.

Canzonetta

British composer and pianist from Yorkshire, living in Malta

Studied at the Royal Birmingham Conservatoire under internationally acclaimed concert pianist Philip Martin, award-winning composer Errollyn Wallen, Fumiko Miyachi and Michael Wolters. And at the University of Malta with John Galea.

Here is a place for me to share recordings of my compositions

Enjoy! x

Tom Armitage - Composer/Pianist

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