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Welcome to the website of Colchester New Music

We are a cooperative of composers based in East Anglia. We aim to develop artistically and professionally through coming together to share knowledge, support, and to run workshops and events to benefit ourselves, other composers, and the greater artistic community.

Please follow the links above to find out more about us, to listen to music from some of our events, or see information about current and former projects, or perhaps have a look at our current calls for scores. Below you can see our latest news posts.

Music by Jenni Pinnock, Mark Bellis and Francis Knights selected for LFCCM 2017

Works by CNM members Jenni Pinnock, Mark Bellis and Francis Knights will be performed at the 2017 London Festival of Contemporary Church Music, having been selected from the very competitive call for scores. This is now the fourth successive year in which CNM members’ works have appeared at the LFCCM. Performances for 2017 are:

Circular Musings (organ voluntary) – Jenni Pinnock
Sun 7 May: 10:00 Choral Eucharist, St Pancras Church, London NW1 2BA

St Pancras Toccata (organ voluntary) – Mark Bellis
Sun 14 May: 10:00 Choral Eucharist, St Pancras Church, London NW1 2BA

Almighty and Everlasting God (Introit) – Francis Knights
Sun 14 May: 18:00 Choral Evensong, St Pancras Church, London NW1 2BA

For the full festival brochure listing LFCCM events in London and beyond, see www.lfccm.com.

Beaks and Quills re-invented: a new repertoire for recorder quartet with harpsichord

This article by Alexander Blustin first appeared in the Newsletter of the National Early Music Association (NEMA), Volume i/1 (January 2017) – reproduced by kind permission of the Editor.

Do you ever have the feeling that you always play the same eight pieces? Have you explored the entire extant historical repertoire of your instrument … twice? Curious about whether there is anything new out there, but uncertain whether you’d like it, or even be able to play it?

Early music performers are often aware that music is still being written for their instruments. They might not, however, know that they can influence the process to obtain the repertoire they really want. In 2016 the Colchester New Music (CNM) composers’ co-operative completed a project to generate works for an ‘early instrument ensemble’ with no existing historical repertoire: recorder quartet with harpsichord. What follows is how did we do it, and what we discovered along the way.

CNM’s membership includes NEMA’s Francis Knights, and Stephen Watkins, who directs the Dulcis Venti recorder quartet. Since recorders and harpsichords tend to be found in the same places – concerts, workshops, festivals and so on – we thought that SATB recorder quartet with harpsichord seemed an obvious combination. Intriguingly, though, it appeared to be completely unexplored by composers of the past, thereby offering today’s composers the chance to be the first to write for it.

So this presented an ideal opportunity for a Call for Scores. This is an exercise where a performer or promoter issues a public request for composers to submit works, with the ultimate aim of selecting some for performance. We compiled a Call document inviting composers to write for Dulcis Venti with Francis Knights as harpsichordist. It contained the technical parameters of the instruments, maximum duration for pieces and a submission deadline; we asked for ‘attractive, imaginative, practical and programmable works … feasible for performance by professional players with limited rehearsal time’.

The Call for Scores was posted on CNM’s website, and linked from listings on sites frequented by composers seeking competitions and opportunities: womeninmusic.org.uk, composerssite.com and soundandmusic.org. Adverts also went to some university music departments.

We received 23 entries originating from composers in the UK, Italy, Serbia, USA, Australia, Austria and Germany; ten of these were selected for performance, plus one from a parallel student project with the Colchester Institute. There was also a commissioned work from Ivan Moody and a suite of pieces by Stephen Watkins himself.

Dulcis Venti and Francis Knights at the premieres in Colchester, June 2016 (photo: Alexander Blustin)

Who entered the call? Submitters ranged from students and amateurs to established professional composers. Styles ranged widely. Pastiche baroque, serial, experimental, neo-romantic, soundscape, minimalist and even cartoon soundtracks were all represented. The recorder writing was generally competent, and given the current prevalence of computer typesetting, score presentation was usually good. The keyboard writing was more variable, however, and some of the music was clearly conceived for Sibelius software rather than human performers.

Since the purpose of this project was to generate a practical repertoire which performers would want to use, the players themselves had total control over selection. This can be controversial with composers. Will the musicians just choose the easy pieces? Will they be biased against anything original and challenging? How far will they dare to move outside their comfort zone, stylistically and technically?

The rehearsal process turned out to be a lot more effort than anyone expected, partly due to this latter issue. Dulcis Venti had to work hard to come to terms with aesthetics far removed from normal recorder territory. As well as technical difficulties, there were questions of taste, quality, and how much effort should be made with something totally alien before ruling it out. Are certain works not music at all but ‘sound art’, and therefore beyond the remit of musicians altogether?

The other major source of difficulty was having a complete concert programme of new works for a new ensemble in a new genre, written by composers often new to the instruments. Classical musicians can easily forget that their repertoire has gone through generations of editors. Newly composed works are, by contrast, sometimes in a raw state. Early musicians are well positioned to cope with this, being used to critical engagement with their sources, though there are the extra factors of copyright and opinionated living composers to consider. The ideal approach is for performer and composer to collaborate on editing, as this is the only way to ensure that the composer will do it right next time.

The final concert was held on 4 June 2016 at the Headgate Theatre, Colchester, an intimate space ideal for chamber music. The audience of around 40 included several of the composers, who had come from as far afield as Austria and Germany. A review of the concert appeared in the Autumn 2016 issue of Recorder Magazine, with detailed commentary on the individual works. Recordings of many of them are now available on CNM’s website https://colchesternewmusic.com, and enquiries about the sheet music are most welcome; the harpsichord parts are playable on any five-octave instrument.

Across the programme as a whole, the main difficulties for performers were caused by the surprisingly widespread use of 5/8 time signatures, impractically fast tempi, virtuosic, complex writing, and discomfort with serialism. In hindsight, a workshop with the composers would have been ideal for problem-solving and managing expectations. We also learned that there is a safe limit to the amount of new music for chamber ensemble which can sensibly be tackled in a single concert.

Did we discover why nobody has ever composed for recorder quartet with harpsichord? No. Professional recorder quartets and harpsichordists have separate repertoires and therefore no reason to share a stage. But that is simply saying that because there is no repertoire they don’t play together, and because they don’t play together there is no repertoire. The mystery continues.

Overall, though, it was a fascinating project which certainly achieved its aims. There are thousands of contemporary classical composers active around the world today, working in a vast range of styles. They are there to write music for you, the performer, and they would love to hear from you.

Composer, artist and author Alexander Blustin is Administrator of Colchester New Music; calls@colchesternewmusic.com

NB The title of this article pays homage to the titles of two of the selected works: Of Beaks and Quills by Janet Wheeler and Five-Part re-Invention by Ron Hannah.

Jenni Pinnock and the Cracked Voices of North Hertfordshire

graham-palmer-jenni-pinnock-cracked-voices-c-terry-hartga-2017CNM member Jenni Pinnock and writer Graham Palmer have been awarded Arts Council funding to develop a new song cycle inspired by the “lost tales and characters of the borderlands of North Hertfordshire … the project will use music to explore the way ordinary people react in extraordinary circumstances“. A series of educational workshops will feed into the final performance in 2018. Further information can be found at http://cracked-voices.co.uk .

CNM season 2017: recital in Colchester and workshop in Cambridge

We can now announce two exciting CNM public events which will be taking place in 2017:

Recital: The Pale Enchanted Gold

3pm, Saturday 17 June 2017, Castle Methodist Church, Maidenburgh Street, Colchester, Essex, CO1 1TT; tickets TBC

A summer afternoon recital by Tim Torry (baritone), Alan Bullard (piano) and Charles Hine (clarinet). The programme will include Tim Torry’s ‘The Pale Enchanted Gold’ – a setting of the first poem from JRR Tolkein’s The Hobbit, Alan Bullard’s dramatic setting of First World War poet Edmund Blunden’s ‘A Swan, A Man’ and ‘Three Blues’ for clarinet and piano, plus new songs and instrumental music by other members of CNM.

Workshop for contemporary harpsichord composition

4pm, Sunday 15 October 2017, Long Room, Murray Edwards College, Huntingdon Road, Cambridge CB3 0DF; free entry for audience

Harpsichordists Francis Knights and Dan Tidhar will workshop new works for two harpsichords written by CNM members. The workshop will be preceded at 2pm by a rare concert of Contemporary American music for two harpsichords by Robert Baksa, Vittorio Rieti, Mark Janello and others.