Tag Archives: Francis Knights

New Structures in Composition concert, 16 Sept 2017

New Structures 160917 posterWe 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

Combinatorial algorithms

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

Recursivity

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

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The Pale Enchanted Gold, 17 June 2017: recital programme announced

CNM_recital_poster_CM_170617-webThis 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:

Song settings

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

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.

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, Fitzwilliam College, Storey’s Way, Cambridge CB3 0DG; 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.