The selected pieces will be performed by students of EPTA-UK teachers in a collaborative concert in June 2018. Full information on the call for scores can be found at:
We can now announce details of our next concert: New Structures in Composition, 5pm Saturday 16 September 2017 at Fitzwilliam College Chapel, Fitzwilliam College, Storeys Way, Cambridge CB3 0DG. Admission free.
With the decline in popularity of traditional compositional structures such as sonata form, it is interesting to explore fields beyond music for new structural paradigms. This academic year, CNM member Francis Knights has a visiting mathematician, Pablo Padilla (UNAM, Mexico), working on a joint project applying mathematical tools to musicological problems (http://formal-methods-in-musicology.webnode.com/). This has inspired a number of ideas for how various algorithms and numerical patterns taken from the natural world could be used in composition.
Performers include Francis Knights, Dan Tidhar (harpsichord, organ), Sarah Cattley, Pablo Padilla, Janet Wheeler (piano), Paula Muldoon (viola), Johanna Finnemann (viola da gamba), Ellen Jameson (recorder) and Stephen Watkins (recorder and piano). The programme comprises works based upon the following algorithms and concepts:
Geometric methods: three dimensional music
Mark Bellis: Vulcan Chess; piano, harpsichord, organ, recorder, viola
Geometric methods: graphical scores
Colin Blundell: un aleatorio estudiado; harpsichord, viola, recorder
Sarah Cattley: A Transformation of Littles; piano duet
Probabilistic ideas: Dice games
Dave Collins: Triple Roll; two keyboards
Iterated maps: self-similarity and fractals
Laurence Glazier: Prelude in C minor and Birthday Barcarolle; solo piano
Arithmetic procedures: Least common multiple and canonical forms
Ivan Moody: Passacaglia; solo harpsichord
The Syracuse conjecture
David and Pablo Padilla: Rondo 3n+1; traverse flute, viola da gamba, harpsichord
Peter Thorne: Whimsical Waltz; solo piano
Music and image
Julia Usher: Calculating differences: transformations at the edge: segmenting a leaf; viola, recorders
Symbols and codes
Ian Wilson: Be fruitful and multiply; piano, harpsichord, organ, recorder, viola, bongos
Recordings are now available online for CNM’s 17 June recital ‘The Pale Enchanted Gold’ with Tim Torry (baritone), Charles Hine (clarinet) and Alan Bullard (piano):
Alan Bullard writes:
All regulars at concerts in Colchester will remember the ‘Bravo’ voiced in stentorian tones at the end of every performance. The voice was that of Roy Teed, who has died aged 89.
Roy was born in Surrey and, after national service with the RAF, studied composition with Lennox Berkeley at the Royal Academy of Music. Working in London and latterly in Colchester, Roy pursued a varied career as composer, accompanist, organist, adjudicator and ABRSM examiner. He taught at both the Royal Academy of Music and Colchester Institute School of Music for many years, and at the latter presented the Roy Teed Cup for Composition, which has been awarded yearly for over 30 years to student composers, some of whom are now well-known in the profession.
For many years he was the piano accompanist for the baritone Norman Tattersall (1924-2001) and the duo gave recitals all over the UK and on Radio 3, and worked with many other musicians of the time. In the early 1950s the duo, together with Francis Routh, founded the Redcliffe Concerts of British Music, which were responsible for bringing many young composers into the public eye, and in similar vein Roy was involved in the early days of Colchester New Music in the 1980s, regularly appearing both as composer and performer. More recently he worked with the tenor Gordon Pullin, who made a CD of his songs (with accompanist John Cooper) to celebrate Roy’s 80th birthday.
For many years he was President of the Colchester Symphony Orchestra and always wrote the extremely informative programme notes for their concerts, and the Orchestra plans to celebrate what would have been his 90th birthday next year with a concert in his memory.
As a composer he was prolific, writing numerous songs (often for his duo with Norman Tattersall), many of them setting texts by their mutual acquaintance James Kirkup (1918-2009), and several choral cantatas and shorter choral works. Larger-scale works include an opera (‘The Overcoat’), a Piano Concerto, a Recorder Concerto, and many chamber works for a range of forces. His Piano Trio was first performed at a Colchester New Music concert, and his Theme and Variations by the Colchester Symphony Orchestra.
All who knew Roy will remember him as a characterful, friendly and caring man, who loved company and always had an entertaining fund of stories, regaled in a very carrying and slightly gruff voice! He will be greatly missed.
Roy is survived by his wife Jenny, their three children Paul, Lucy and Trudy, and a granddaughter, Victoria.
Roy Norman Teed, b. Purley 18 May 1928, d. Colchester 17 June 2017
This June’s CNM summer afternoon recital by Tim Torry (baritone), Charles Hine (clarinet) and Alan Bullard (piano) will take place at 3pm on 17 June at Castle Methodist Church, Maidenburgh St, Colchester CO1 1TT; entry free, retiring collection.
The programme is based around three key works: Tim Torry’s setting of JRR Tolkein’s ‘The Pale Enchanted Gold’ poem from The Hobbit, Alan Bullard’s setting of Edward Blunden’s ‘A Swan, a Man’, and also Alan’s ‘Three Blues’ for clarinet and piano.
Alongside these, CNM members have contributed new pieces for clarinet and piano, plus song settings of poetry with all kinds of interesting connections to the pieces above. The full lists of members’ works in each category are as follows:
A Swan, A Man – Alan Bullard/Edmund Blunden
The star – Dylan Christopher/Jane & Ann Taylor
The sun goes down – Francis Knights/AJ Blustin
The Genealogy of Christ – Mark Bellis/Gospel of Luke
Oft when warring – Stephen Watkins/Thomas Hardy
The Pale Enchanted Gold – Tim Torry/JRR Tolkien
The sleep – Ian Wilson/E B Browning
Clarinet/bass clarinet and piano
The Bold Princess Royal – Colin Blundell
Three Blues – Alan Bullard
Whither Now? – Laurence Glazier
Seeking stillness for solo bass clarinet – Philip Joy
A movement from the Scenes from a train suite – Jenni Pinnock
Dance – Peter Thorne
Subsequent Darkness – Julia Usher
The programme also includes three works from the 20th Century English Song repertoire:
It was a lover and his lass – Gerald Finzi
Silver – Armstrong Gibbs
A Sergeant’s Song – Gustav Holst