LIDO for percussion trio and audio, performed by Ben Clark, Christian Drew and Antonin Granier

“This work began as a series of open and flexible scores that drew on the rondeau Fumeux Fume Par Fumee (c.1390) by the 14th-century French composer Solage as a form of source material. Slowly, over the course of a collaboration with percussionists Ben Clark and Antonin Granier, this fixed but still very loose assemblage of the piece came to the foreground, leaving most of the source material behind as a faint trace beneath the surface.”
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Tunnel Music for harp and audio, performed by Cara Dawson
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Shoegaze Medieval for four instruments and audio, commissioned by the Richmond Concert Society and performed by W37 Saxophone Quartet

Shoegaze Medieval is based on the ballad Corps Feminin (c.1390) by the ars subtilior composer Solage (c.1340-1400), examining and reworking its materials within a loose and blurry context. All four instruments fulfil equal roles within the work’s heterophonic surface, cycling through the song’s pitch material in loosely constructed canons, but with newly conceived rhythms and durations. The electronic component is made from a series of manipulated audio recordings of the piece, processed and layered again in canonic textures to provide a hazy and psychedelic wash behind the instruments. This process draws from the subgenre of indie and alternative music known as ‘shoegaze’, which came to prominence in the UK in the late 1980s and is noted for its ethereal mixture of obscured vocals, guitar distortion, effects pedals and feedback.”
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TWINE for violin, soprano saxophone and accordion, for choreography by Harry Ondrak-Wright
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Jangle Consort (excerpt) performed by What Guitar Trio at 840: New Music for Guitar Trio

Jangle Consort is music about noodling and meandering; casual, lazy, private, as if improvised. A haphazard convergence of Scottish and English folk, consort, medieval, blues and appalachian music.”
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more lines and ballads for chamber orchestra
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more lines and ballads initially stemmed from a series of experiments that used the American folk song Shenandoah (as recorded by Tom Waits and Keith Richards) as a form of source material. After a long process of filtering and transformation through improvisation and re-notation, the soft, vague and blurry edges of the current work began to appear. The static, hazy lines and sliding, shifting ballads hold only a tangential relationship to the source, which in the end offered an oblique stepping stone to this version of the piece.”
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32 landscapes for six voices performed by EXAUDI/James Weeks

“A piece about dwelling, blurring, gazing, drifting. The text is a list of landscape paintings, selected part arbitrarily and part subjectively from the database.”
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within the remit of possibility for recorder, piano/melodica, electric guitar and violin, performed by OUT-TAKE Ensemble

“within the remit of possibility is frail, circular, veiled, local. A few familiar harmonies, stretched, overlaid and accumulated.”

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