Tag Archives: laurence glazier

Announcing the Piano Project 2018 shortlisted works

We can now announce the shortlist of pieces for CNM’s Piano Project 2018, presented in collaboration with EPTA. These pieces, written by contemporary composers for learner pianists of ABRSM grade 1-5 standard, form the list from which students and teachers will select works for the final concert in Chelmsford in summer 2018. The shortlisted works are:

SleepwalkingAnna Appleby

RobotAran Browning

Five Pulse PiecesPaul Burnell
Just Before DawnPaul Burnell
Trying to RememberPaul Burnell
Soften Swords Paul Burnell

Rabbits Teresa Chapman
New BootsTeresa Chapman
The Lonely ChickenTeresa Chapman
Can my Heart Escape this Sadness?Teresa Chapman

For EllieDylan Christopher
SimplicityDylan Christopher
ElegyDylan Christopher
WaltzDylan Christopher

Minor sadnessMartin Devek

Prelude in C MinorLaurence Glazier

In AutumnMelanie Green
MusingsMelanie Green

SeeSaw 45Mel McIntyre
Taking TurnsMel McIntyre
The Jolly SailorMel McIntyre
LargoMel McIntyre

Reminisce Jenni Pinnock
AllegrettoJenni Pinnock

RodeoRoger Sciachettano

Little BoatPeter Thorne

Tonal tunes and modal melodies 2: Variations on a wistful tuneTim Torry
Tonal tunes and modal melodies 5: A Scots SaddhuTim Torry
Tonal tunes and modal melodies 6: Variations on a Sea Song, The Drunken SailorTim Torry

Ancestors’ FootstepsIan Wilson
 

Composer biographies

Anna Appleby is an award-winning, Manchester-based composer and the 2016/17 Rambert Music Fellow. She has written for artists including the Royal Northern Sinfonia, the Cavaleri Quartet, the Hermes Experiment, the BBC Singers, Manchester Camerata, Jonathan Powell, Het Balletorkest and A4 Brass. Collaboration is at the heart of her creative practice.

A composer from the Lake District, Aran Browning (b. 1994) recently graduated with First Class Honours from the Royal Conservatoire of Scotland under Rory Boyle and Gordon McPherson. Since coming to Glasgow his collaborators have included Live Music Now, Red Note Ensemble, Inclusive Creativity, BBC SSO, Drake Music Scotland, Ensemble Modern, Leeds Lieder and Strathendrick Singers through Adopt a Composer.

Paul Burnell (b. 1960) is a composer and musician based in London. His compositions can be heard on his albums, including ‘Leaving the Party on Pluto’, ‘Cabbage Heads’, and ‘Acute Suites’. An album with pianist James Bacon was released in 2016 and ‘Accompanied Readings Vol.2’ is due for release in 2018.

Theresa Chapman is a Colchester-based Piano Teacher, and also works as a Music Tutor for Essex Music Services. She holds both a B.Mus degree from the University of Cape Town and an Honours degree in Music from Stellenbosch University.

Dylan Christopher (b. 1987) completed his music studies with honours at Colchester Institute, where he studied piano with Australian pianist Lesley Young, and composition with Dr Mark Bellis. A promoter and advocate of contemporary classical music, Dylan joined the membership of Colchester New Music in 2014.

Martin Devek (b. 1979) is a multidisciplinary artist, creator of original music, film and fine arts. Born in Buenos Aires (Argentina), he is currently working in Northern Ireland and England. His compositions for dance & theatre pieces include ‘Knowing the dance’ performed at Brian Friel Theatre (Belfast), Dance Ireland (Dublin) and Down Arts Centre (Downpatrick); ‘IReflexes’ performed at R-Space Gallery, (Lisburn), The International Meta-Body Symposium (Brunel University, London) and Black Box (Belfast); ‘A Spoonful of Jelly’, performed at the Belfast children Festival 2014, the Banbridge Box and the Down Arts Centre; ‘Bubbleloon’, performed at the Belfast Children Festival (2013) and the Crescent Arts Centre (Belfast). Martin holds a BA in Music, from CONSUDEC (Argentina), a Masters Certificate in Composing music for Film and TV from Berklee College of Music (USA), and an MA in Computer Music from Maynooth University (Ireland).

Laurence Glazier studied mathematics at Fitzwilliam College, Cambridge. After lessons in composition from Chris Sansom, he studied Harmony and Counterpoint at the City Lit in London, where one lecturer was Colchester composer Alan Parsons with whom he later undertook many years of study.

Melanie Green (b. 1977) works as both a music tutor and a maths tutor in Cambridgeshire. She studied in London: Music at Royal Holloway; Ethnomusicology at the School of Oriental and African Studies; and Community Music at Goldsmiths College. She plays cello and Balinese gamelan.

Mel McIntyre (b. 1957) is a writer, musician and composer living near Huddersfield, West Yorkshire. Originally from Canada, Mel has been living in the UK since 1983. He began his career as a music teacher and has written lots of music aimed at helping people learn to play.

Jenni Pinnock is a composer, teacher and arranger based in Cambridgeshire, UK. She studied at Kingston University (BMus) and Trinity Laban Conservatoire of Music and Dance (MMus), and has had her music performed by a variety of ensembles across the UK and worldwide. For more information about Jenni and her music, please see her website jennipinnock.com.

Roger Sciachettano (b. 1947, Heliopolis, Cairo, Egypt) is a retired primary teacher and an amateur composer who started taking lessons with Peter Thorne in January 2016. He very much enjoys composing and arranging.

Peter Thorne (b. 1955) has been composing music since the age of about 12. He read music at Oxford and the UEA, where he took a master’s degree. Over the years he has written in many different styles and genres but most recently he has been writing for wind instruments and piano. Peter’s music often features influences from various kinds of jazz and pop and is often colourful and rhythmic. He has written two piano sonatas and other pieces for the concert pianist Peter Seivewright who is in the process of recording them for a CD. Peter’s music for wind ensemble is published by http://www.soundthetrumpets.com and music for wind and piano by http://www.warwickmusic.com.

Born near Chelmsford, Tim Torry was educated at Colchester Royal Grammar School (where he later became Head of Music), York University and the RAM. During the 1970 and 80s he was well-known locally as a baritone/bass soloist, and also as a composer-member of CNM. Severe ME symptoms cut short his career in 1992, but treatment for mercury amalgam poisoning led to his full recovery and, eventually, a return to solo singing in 2007. Encouragingly, a work of his was accepted onto the SPNM Shortlist in 2003 and his song cycle The Face of Grief received four festival performances in July 2015 from Roderick Williams (baritone) and Susie Allan (piano); the ‘Three Choirs’ one was broadcast on Radio 3, a broadcast that was repeated in 2016.

Ian B. Wilson (b. 1967) is a music graduate of Durham University, where he received composition lessons from Robert Casken. ‘Come and Rejoice in Jesus’, an album containing songs written for his church, is available online. The Dunblane Chamber Orchestra performed his ‘Three Songs from A Shropshire Lad’ in May 2012 and his compositions have been performed by, among others, the St. Bonaventure’s School Choir and the Colchester New Music Group. Ian is a secondary headteacher in London.

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New Structures in Composition 16/09/17: photos and programme

Thanks to everyone who made our recent New Structures in Composition concert such a success; composers, performers and not least the audience of 60 who were crammed into Fitzwilliam College Chapel on a very wet Saturday in September. Some photos from the event are below, and a pdf of the programme can be downloaded here.

In rehearsal… the composers arrive…

The concert… we spy a Vulcan!

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

Some Thoughts On The Colchester New Music Day 2011

 

 

It never ceases to amaze me how a diverse group of composers, such as members of CNM, working in relative isolation, come up each year with such interesting programmes and how certain themes seem to emerge. Two things struck me this year: the contemplative atmosphere that informed much of the music, and the sense of historical development which composers seemed to evoke. Alan Parsons’ Three Pieces for Clarinet and Piano, written as something of a student exercise in 1953, hark back to the expressionistic brevity of the early works of Schonberg, Berg and Webern. Laurence Glazier’s Sonata for Bass Clarinet and Piano was a delightful and entertaining evocation of the neoclassical, jazz influenced music of the 1920s and 30s. Colin Blundell’s Five Mathoms – Hobbit speak betrayed his love of English music of the same period, while Alan Bullard’s Bede for Soprano and Bass Clarinet and Tim Torry’s sensitive settings of Charlotte Mews’ moving First World War poems The Face of Grief, although moving beyond it in both rhythmic and harmonic language, had their roots very much in the same tradition, most prominently in the careful and effective setting of the English language. Alan P’s Three Songs from ‘Chamber Music’ by James Joyce had a similar nostalgia for the neo-Romanticism of the pre-second world war British music, although using composition techniques that owed much to the war time and post-ww2 music of Messaien and early Stockhausen. Like Tim’s songs, they were dedicated to Lindsay Gowers in recognition of the wonderful work she has done for CNM over the years (since 1994 to be exact), giving many first performances of works by CNM composers. Mark Bellis’s Benedicite Omnia Opera belonged, again at several removes, to another great British musical tradition, that of cathedral choral music. This was a highly personal and original setting of a text well-known in Anglican circles. Tim Torry’s One Intent for Solo Piano continued the transcendental and contemplative mood, this time with a Buddhist inspiration.

 

Another theme to emerge was that of extended instrumental technique. This was an important part of the compositional philosophy of the early 20th century expressionist composers. Indeed it goes back farther than them. As Michael Finnissy remarked when he was with us a few years ago, even the ordinary orchestral string writing of Brahms, who, in spite of his ‘progressive’ side, could hardly be thought of as an ‘experimental’ composer, would have been considered impossible a couple of generations earlier. While Beethoven’s late Piano Sonatas and String Quartets took  instrumental techniques to new levels; and Bach’s writing pushed to the limits the instrumental and vocal techniques of his day. The tendency to push instrumental techniques to new limits came to the fore not only in the electronically enhanced pieces, but also in the advanced bass clarinet techniques used by Sarah Watts in Anthony Clare’s Scawfell, a seminal piece for this duo. Stuart Russell made evocative use of electronics in his Thames Estuary Nocturne. Julia Usher’s setting of, or rather commentary on, extracts from Jamie McKendrick’s thought-provoking Dark Matter: Poems of Space, was described by the composer as being for Bass Clarinet, Multitrack Sound Canvas and Projection. Julia certainly used this multimedia apparatus to great dramatic, indeed theatrical, effect.

           

Also in the programme were Piers Hallawell’s Minnesang and songs by Samuel Barber. The Hallawell was an impressive piece. From the opening flourishes and arabesques to the final arresting and brooding instrumental interchanges, the confident musical language was projected with colour and authority by Sarah Watts and Anthony Clare, who premiered the work at Edinburgh earlier in the year. The Barber songs were lucidly communicated by Lindsay and Anthony, serving to remind us of the parallels and contrasts between the English and American lyrical traditions, and the concern for the text by both.

 

May we express the composers’ eternal gratitude to Lindsay Gowers, Sarah Watts and Anthony Clare for their splendid and dedicated performances.

 

A P and AB May 2011