The overture to 'Oceanova', a new production by the Young People's Puppet Theatre. Original script by Preeti Sharma. Original score by Will Parker.

(Oceanova) - I. Overture

'Grace's Death' from Oceanova, a new production by the Young People's Puppet Theatre. Original script by Preeti Sharma. Original score by Will Parker.

(Oceanova) - II. Grace's Death

Three Thoughts about Maria Carta imagines the late Sardinian folk singer and singer-songwriter, Maria Carta, singing and dreaming in the afterlife.

Composed by William Parker (2022)

Premiered by Hill Quartet in the Angela Burgess Recital Hall at the Royal Academy of Music, Marylebone, London, on 4th March 2022. 

Performers:
1st Violin - Bridget O'Donnell
2nd Violin - David López Ibáñez
Viola - Julia Doukakis 
Violoncello - Ben Michaels

https://www.hillquartet.com/

Three Thoughts About Maria Carta (2022)

(Oceanova) - III. Noddy's Flight

Meditation for Four Human Hands - for Prepared Piano & EBow

November Was Already Staying At The Yard

In Two Night Pieces, I have created what has often been described in the art world as a diptych; two, often deeply contrasting works adjoined together side by side, which together form a complementary pair. David Salle’s “Calm Down in a Diary”, currently on display in the Tate Gallery, is a prime example of this from the artworld.

The main poetic idea I wanted to explore was the idea of a virtuoso soloist, however, as opposed to the bold and strident soloist as is often associated with the traditional romantic concerto form, I wanted to capture the exposed and vulnerable side of the performer’s personalities, showing their frailties and insecurities. Throughout the trio therefore, as opposed to seemingly championing the night, the players appear as alienated anti-heros, essentially one of us on stage who tell us their secrets. There are brief moments where the soloist leads and shines and lands on proper melodies, but there are also moments where, throughout the night, they feel and lose.

The first movement, or night image if you will, depicts a cocktail of musical styles and performance practices, from Beethovenian pastiche to fizzing folk, with the role of ‘soloist’ passing between the players. At first, the cellist plays a rather simple descending line, with changing articulations every note, all the time supported rhythmically by murmuring sounds in the rest of the group, resulting in a rather frantic visual display. The role of soloist then passes to the violinist, who outlines a rather child-like descending chord sequence high up on the fingerboard, with the cellist whistling in unison as if in support of his companion. After a short interlude, the trio seem to find their rhythm and a march ensues, though the group are still not without their struggles. A short while later, the violinist finally relaxes, suddenly appearing to don a fiddle, and doesn’t seem to care that he/she is no longer playing in the correct key. All this is while the cellist provides walking bass figures which, if anything, are much more disruptive than supportive. After a brief vision of what is to come in the second movement, the pianist decides to take over from the cellist, this time providing support much more successfully. The attention now returns to the cellist once more, as he/she attempts to express something more profound, though when they finally reach a point of repose shortly thereafter, they are simply mocked by the group. Chaos now ensues with musical events spiralling out of control towards the end of the movement, and after a short argument between the trio as to whether they should conclude their efforts in either C or E major, the movement abruptly closes with a manic and unsatisfactory cadence.

In the second movement the group find their salvation in a much more eastern guise, playing a chorale together in unison, which follows the laws of movement of the Hindustani night raga, Raag Hemant, which is performed between 9pm and 12am. The sound of seagulls can be heard as a brief interlude, painting a picture of a coastal setting, and when the chorale returns for the final time, the listener may perceive the chorale in a new light. The companions take a bashful bow.

Two Night Pieces

Will Parker is a composer from Staffordshire, UK. Recent projects include a collaboration with the Young People’s Puppet Theatre (Oceanova, Watford) and theatrical concert pieces for the Academy Manson Ensemble (Scenes from Oscar’s adventures in the Wild(e) West), Hill Quartet (Three Thoughts about Maria Carta) and Riot Ensemble (Minnie Pit Elegy).

He is now beginning work on his first musical, a commission for the Woodwind Department of the Royal Academy of Music and an orchestral song cycle to be workshopped by the Royal Academy of Music Symphony Orchestra in September where he is currently a Master’s student.

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