Tag Archives: British composer

‘It May Have Been’ – the piano works of Paul Burnell

it20may20have20been20album20front20cover201500This new album celebrates the piano music of British composer Paul Burnell, spanning 30 years. Paul had recorded and produced previous albums himself, but in this instance he decided it was time to work with another musician, the pianist, composer and recording engineer James Bacon who runs the Piano Recording Studio. The music was recorded on a Bosendorfer Phoenix Imperial 290, fitted with the Phoenix agraffe system pioneered by Richard Dain at Hurstwood Farm Pianos, which gives the piano greater sustain and clarity of sound, especially in the high registers. This makes it ideal for Burnell’s piano music, much of which explores the timbre and sonic possibilities of the piano rather than melody per se.

“Unembellished, unfussy, unsophisticated…..and short” – Burnell’s own programme note for his Plain Pieces, a triptych dedicated to pianist Natalie Bleicher, could be applied to all the music on this album, though I would hesitate to use the word “unsophisticated”. Short, unfussy these pieces might be, but there is sophistication in the careful placing of notes to create subtle shadings, unexpected harmonies and suspended sounds. “Minimalist” is a description which immediately springs to mind on first hearing Burnell’s music, but this is not the frenetic (sometimes irritatingly so) repetitious minimalism of Philip Glass or Michael Nyman, but rather the more contemplative and spare minimalism of composers such as Lawrence Crane, whom Burnell cites as important influence (It May Have Been, Just Before Dawn). The more up-tempo pieces here (Pacer Nos, 1, 2 and 3) owe more to Howard Skempton (another significant influence) in the use of changing chords and sequences to create energy and climactic episodes. There are also echoes of that other great American minimalist, Steve Reich, in Standing in the Rain. Composed in the mid-1980s, the piece features a persistent rhythmic figure redolent of Reich’s Clapping Music and similar compositions.

Paul was kind enough to send me copies of the scores of the pieces featured on this album and it has been a pleasure to explore the music both through listening and playing. The music is accessible (roughly Grade 3-7) and attractive, but not simplistic (see my earlier comments about sophistication) and it takes a skilled and thoughtful pianist to create the considered sounds which Burnell’s music requires. This music also offers the piano student a good introduction to minimalism and provides a jumping off point for further exploration of this genre.

James Bacon brings the works to life on this recording with clarity, sensitivity and creativity – adding a drone to 2 Ping – combined with his technical expertise in the field of recording and sound engineering, and superb state-of-the-art equipment.

Recommended.

‘It May Have Been’ is available from iTunes, Amazon and other retailers as a download or CD, and can also be streamed on Spotify.

Paul Burnell’s Meet the Artist interview will be published shortly.

 

 

 

 

 

If you listen to one thing this week…….

‘Heading for the Hills’ by Nobuya Monta and Peter Byrom-Smith
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Performed by Strata String Quartet
Violin 1: Oliver Morris
Violin 2: Alexandra Dunn
Viola: Laurie Dempsey / Alice Billen
Cello: Roderick Skipp

Recorded at Blueprint Studios, Salford
Mixed and Mastered by Gaz Hadfield
Cover design by Louis Barabbas

Debt Records, released July 15, 2016

This first classical release by Debt Records celebrates a groundbreaking East-West collaborative partnership between Japanese composer Nobuya Monta and British composer Peter Byrom-Smith. ‘Heading for the Hills’, a suite in 10 movements for string quartet, is the main work on the album, bookended by Sonata Lamentosa and Sinfonia by Monta. Peter Byrom-Smith’s work, which lends its title to the album, is a tribute to the landscape of the Peak District close to where Peter and his wife Gillian, a poet, have made their home in Glossop in Derbyshire.

“The title of the album was taken from a poem written by my wife Gillian Byrom-Smith. The poem was inspired by the frequent rail journeys we have taken across the flat Vale of York towards the beauty of the Pennines.”

The main six movements of the work are musical images of real journeys between the east and west of England, depicting things the composer observed, or thought he had observed during the course of these journeys (Galleons, Swallows, Raindrops, Heading for the Hills Lanterns, Buds). A Prelude and Postlude were added to complete the work – and the journey – so that the suite works as an entire narrative when performed in concert. No. 7, Buds, was composed by Nobuya Monta and Peter Byrom-Smith.

This haunting, expressive and evocative music contains hints of British minimalist composer Michael Nyman, but without the (sometimes tiresome) insistent repetitions. Byrom-Smith seems more intent on using melody, harmony and dialogue between the instruments to create interesting textures and musical interactions. Motifs are stated, restated and developed, for example the dancing figure which opens over a drone in ‘Raindrops’  develops into a playful, twirling dance between the instruments. Here there are more than a few hints of English folksong and dance before the middle section unfolds in a more contemplative manner. Later, the folksy motif returns and an insistent little fanfare is heard in all instruments. 

‘Swallows’ creates a feeling of space, of birds wheeling and circling in the sky, with its contoured melodic lines and delicate fioriture, redolent of the solo violin line in ‘The Lark Ascending’ by Vaughan-Williams. ‘Buds’ unfolds slowly, just as a flower or plant opens to reveal itself. The final work in the suite, Postlude, recalls themes heard previously in the Prelude and introduces new material to bring the narrative and imagery to its conclusion.

Nobuya Monta’s ‘Sonata Lamentosa’ is an emotional response to the tragedies that have occurred all over the world. The textures here are more florid, the mood more urgent with an almost Schubertian melancholy (cf String Quartet No. 14, ‘Death and the Maiden’), though, as in Schubert, there is also a sense of hope. 

The closing work on the album, ‘Sinfonia’, is also by Monta, and once again seems infused with the moods and motifs of late Schubert and the harmonic and rhythmic piquancy of the early twentieth century (Ravel, Debussy). It utilises contrapuntal textures and the second movement is a thrilling fugue.

‘Heading for the Hills’ – CD or download

Composer Peter Byrom-Smith will featured in forthcoming Meet the Artist interview

 

 

 

 

Meet the Artist……Jimmy Lee, composer

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Who or what inspired you to take up composing, and pursue a career in music?

I discovered my ability to compose almost by accident. I had always been active and in love with the performing arts, school plays, school and church choir’s amateur dramatics etc…. It all started for me when I began to write poetry, mostly autobiographical of childhood memories, life experiences and so on. Without any formal training, I found that I could create melodies by turning my poems into song; I seem to have a natural gift as a songwriter. The four pieces on the album ‘The Empty Room’ were written on guitar some time ago and although I was not able to transcribe them for symphony orchestra myself at that time, When I was eventually able to hear the music played by the ensemble I founded, I was more than delighted and promised myself that one day I would record and perform all of my music albeit ballads, folk, Americana but most importantly, orchestral.  That time came a few years ago. Since that time I have produced four albums, written over thirty songs poems and produced two musical stage productions from albums.. All have been well received and proven very popular with a variety of audiences. I am ‘at one’ when I am performing!

Who or what were the most significant influences on your musical life and career as a composer?

In my childhood and at school I became emotional, reflective and very thoughtful when I heard pleasing melodies and songs. I remember at school performing Schubert’s ‘Trout’, so beautiful and meaningful; also the songs of Stephen C Foster. I was captivated by their meaning and how simple it seemed to be able to tell a story and express emotion and events good or bad. In the early 60’s I was fortunate enough to share a flat in London with very talented musicians, with a wide range of musical interests from folk to orchestral and I attended many performances throughout London and yearned to play my part. I practised hard on guitar/vocals and played my first few gigs at the Troubadour and the Half Moon in Putney.. From then on I was hooked.

What have been the greatest challenges of your career so far?

To keep my desire to perform in check. I have dipped in and out of the music scene from the late 70s, performing in the UK, Europe and the USA but my sense of responsibilities’ to provide security for my young family always overruled my personal ambition. I have no regrets in pursuing a career in the commercial world, which was thankfully both enjoyable and successful.

What are the special challenges/pleasures of working on a commissioned piece?

The challenge is to understand what is required and to create something that will last, stand the test of time and be meaningful and pleasing not just to the audience but to yourself. I have no respect for transient music.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?

I am not the greatest musician in the world and I am always in awe of the standard talent and ability of trained or gifted musicians. Sometimes I feel intimidated and inadequate but I am usually put at ease and enjoy that company enormously.

Which works are you most proud of?

Apart from my orchestral works, which I am enormously proud of, there is a ballad on my ‘Runaway’ album called Hard Man. It was a difficult song to write and sometimes too difficult to sing but the lyrics say it all. It is a song about my Father who suffered terribly in Burma during the WWI and carried the scars for life. It is both a criticism and a tribute to a man who was never able to be the Father that I know he could have been and wanted to be.

Who are your favourite musicians/composers?

There are many from Chopin, Mozart, Schubert, John Williams, Paul Simon, John Lennon, Adele, Leonard Cohen, Kris Kristofferson and many more!

What is your most memorable concert experience?

Hearing my orchestral works performed by a full symphony orchestra at the Guards Chapel in Wellington Barracks, London in November 2015

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

For me, all music must tell a story that would be both interesting and in some way moving. The story line/lyrics will often suggest music and the music will often suggest a story line or lyrics. The two are inseparable do not be swayed by what is in vogue follow your instincts your gifts are specific to you… create and never give up!

Where would you like to be in 10 years’ time?…….

Still alive and well.

What is your idea of perfect happiness?….

Contentment.

What is your most treasured possession?…

My health and my guitar.

What do you enjoy doing most?…

Snowboarding, wind-surfing, and performing but not at the same time !!!!

What is your present state of mind?…

Excited, apprehensive, confident and pleased that at this time in my life I still have a lot to look forward to.

From classical music to folk and country, Jimmy Lee has an exotic and diverse compositional style. Disregarding all barriers that stand between genres, Jimmy has pursued his love of music regardless of any rules. His career has taken him across the globe from bars and beer joints in America’s Mid West to London’s Wembley Arena. After taking a break from the music scene, Jimmy Lee founded the Blue Coconut Music Club and decided to take up his calling once again.

Jimmy Lee released his debut classical album for symphony orchestra in Spring 2016. Having caught the attention of the Director Music at The Army Corps of Musicians (CAMUS), Kneller Hall with the power and beauty of his music, Jimmy Lee begun a collaboration with the Military for his next project. The album was recorded by Abbey Road Studios at The Guards Chapel, Wellington Barracks and Birdcage Walk with combined military and civilian musicians.

Read more about Jimmy Lee here

 

 

Meet the Artist…… Jack White, composer, producer & songwriter

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Who or what inspired you to take up composing, and pursue a career in music?

My parents and especially my granddad have always been very supportive and encouraging. My granddad always wanted to be able to play the piano and compose, but he wasn’t offered any opportunities to learn when he was younger. I think that’s what drove him to encourage me: he saw that I enjoyed it, and made sure I took all the opportunities I could.

Who or what were the most significant influences on your musical life and career as a composer?

It may sound obvious, but my parents. I couldn’t have been offered the opportunities I have been today without their help and support.

What have been the greatest challenges/frustrations of your career so far?

I think it’s important to learn how to fail ‘productively’. As a freelance composer you are never going to get every single opportunity you put yourself forward for. It’s important to try and remain positive. Take criticism on board where you think it’s fair, but remember that your music should ultimately be defined by you. There have been times when I have felt it was right to reject criticism. Knowing when to do this can be tricky to navigate when you’re starting out.

With every performance you get better at communicating the music in your mind’s ear to an audience. This process is a very personal one. It operates on many levels between transcription and translation. No-one can tell you whether it has been successful other than yourself. Do not be too self-critical when you make a mistake, because that’s how you learn.

What are the special challenges/pleasures of working on a commissioned piece?

It’s great when you can shape a piece around a specific group. I always try to feed off the energy and enthusiasm of an ensemble when I write.

You’ve recently been announced as a London Music Masters Award holder, tell us more about this?

It’s very exciting because it’s the first year that this scheme has been opened up to composers, so I am thrilled to be able to take this opportunity! I am also looking forward to being able to better advocate Contemporary Classical Music, and work with the young people involved in the scheme.

Who will you be composing for as part of your LMM Award?

I’ll be writing a piece for a YCAT (Young Concert Artists Trust) musician through the LMM/YCAT partnership.  I’ve been given a hint as to which musician it may be, and I can already say I’m very excited about it!

Of which works are you most proud?

I love the recording of my BBCSO orchestral piece ‘Digital Dust’. Also, the multi-part choral piece ‘Islands (Ynysoedd)’ I wrote for what became a celebration of Sir John Tavener’s life in Southwark Cathedral, following his death. More recently I wrote a piece for Côr Aduniad called ‘We Have No Right To The Stars’. This is a translation of a poem by Hedd Wyn, and I think it’s one of my favourite choral settings to date.

How would you characterise your compositional language?

I like to describe my style as emotional and accessible. When I was first getting inspired by music I used to get the ‘tingle factor’ (when the hairs on the back of your neck used to stand up) when I listened to music I loved. I have tried to find a compositional language which allows others to feel a strong emotional attachment to my work.

How do you work?

I like to write straight into the computer if I am working on a piece. I usually work at a piano to sketch ideas, and when I am happy with them, notate them straight away.

Who are your favourite musicians/composers?

Kaija Saariaho, Jonathan Harvey, Michael Tippett, John Tavener, Benjamin Britten, Tori Amos, Björk.

What is your most memorable concert experience?

I can’t remember the exact details but I watched Vaughan Williams’ ‘Fantasia on a Theme by Thomas Tallis’ when I was very young. I can remember the music having a profound impact upon me.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

Learning how to listen is probably the most important part of becoming a musician. It takes time to develop and is fundamental to your success in all areas of the business.

Where would you like to be in 10 years’ time?

In a studio which would make Hans Zimmer jealous!

What is your idea of perfect happiness?

Being truly grateful for everything you have.

What is your most treasured possession?

My piano.

What do you enjoy doing most?

Laughing.

What is your present state of mind?

Upbeat.

 

Jack White studied music at Somerville College, Oxford.  His postgraduate studies have been undertaken solely at Cardiff University where he has recently finished his PhD in composition.  His research interests are in electroacoustic composition and the combination of this media with traditional ensembles in ‘live’ performance.  He is also interested in the scoring methods used by electroacoustic composers and the relationship between such methods and a work’s identity.

Jack White is the recent recipient of a London Music Masters award

Jack White’s website

 

Meet the Artist……Kenneth Hesketh, composer

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Who or what inspired you to take up composing, and pursue a career in music?

My musical life began as a chorister at the Anglican Cathedral in Liverpool in 1977 when I was nine, but singing had already been a part of my life (winning local music festivals for solo singing), which is the reason I went to audition at the Cathedral. After joining I was given piano lessons and other basic theoretical training. From about the age of ten, I was composing a number of things which further supported my initial forays into composition; primarily the unwavering support of my mother and grandmother who purchased a piano and reams of manuscript paper. Various BBC programmes on music at the time engaged me; my parents mentioned a James Blades programme on percussion that I was enthralled by before I want to the Cathedral and I subsequently took up percussion alongside piano. I also fondly remember the Stravinsky centenary programmes on BBC 2 in 1982. The support of the organist at Liverpool Cathedral, Ian Tracey, a lovely piano teacher, Dorothy Hill, who was also an opera fanatic who would invite me to accompany her to Opera North seasons in Liverpool for a number of years. Singing high quality choral music of the Italian renaissance, English Tudor and even 20th century periods, all of these cemented my need to live in music.

Who or what were the most significant influences on your musical life and career as a composer?

It dawned on me about 10 years ago that one reason much of my work is saturated by activity against sustained resonances comes from my childhood memories of the acoustical properties of the Cathedral building.  The sort of aural glow that is present in that building (and sometimes, musical confusion!) seeped into my head at an impressionable age and has remained ever since. The reverberation of a large acoustic space also suggests ambiguity, doubt and distance to me. Also, the nature of ritual and text, the rich, reflective nature of space and echo, all left their mark on me.

Music of the Franco-Russian period – orchestral music mostly – was important when I was a very young composer and remains a pleasure for me to this day. I was lucky from the age of 13 to have my orchestral work performed by the Merseyside Youth orchestra and Royal Liverpool Philharmonic. From 2007-2009 I was the RPS Composer in the House with the RLPO which felt like a full turn of the wheel and a wonderful homecoming. About the age of 12 I had composition lessons from composer Steven Pratt (I remember that mine would often follow Steve Martland’s lessons) and he challenged my rather safe musical horizons with works by Berg, Messiaen, Boulez, Hugh Wood (his teacher) and other repertoire I would not have come across myself at this time. Three composers followed who have had a profound influence on how I believe a composer should be, Edwin Roxburgh, Oliver Knussen and Henri Dutilleux – fastidious in work, with acute musical ears and generous in spirit and nature.

What have been the greatest challenges of your career so far?

Maintaining space – both physical and mental – to work, to stay on top of commissions, to teach and be an active and present father to my young son. The musical challenges have been to remain true to the real inner voice and how to express it as clearly as possible, which also has a direct impact on technical issues of notation and performer psychology.

What are the special challenges/pleasures of working on a commissioned piece?

The challenges may come from the terms of the commission,  the constraints of the instrumental forces, the duration, the context which the new piece will find itself in (I’m not a fan of ‘themed’ or anniversary commissions but take them anyhow) and so on. The solving of these problems is also the pleasure of working on a commissioned piece. Solving a self-imposed technical issue (formal, harmonic etc.) and conveying something of the deeper intended affect or mood – without simply priming people in a programme note! –  is also a challenge/pleasure coupling.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?

As scores are only the best possible ‘model’ to aspire to in realising a work, one hopes that it can be executed as conceived in the rehearsal time allowed. One also hopes that a collective situation can be arrived at where I feel the piece is well represented and speaks as intended (expresses its nature) and that there has been a transformative journey, for all involved – audience, performers, myself.  Working with technically brilliant and artistically informed musicians is one of the great pleasures of this musical life, as is the celebratory drink after a premiere!

Which works are you most proud of?

The ones which seem the most authentic to my ‘inner voice’ (perhaps even musical conscience) and also the ones where I’ve taken technical and emotional steps beyond my own initial expectations. This, in the happiest of circumstances, can lead to a synthesis of things I was only dimly aware of but which then become a foundation to build on in the following work.

Who are your favourite musicians/composers?

There are a great deal of established musicians and composers from the past and present who I find exciting, and even close to, that cover different musical genres (art music, medieval music, Moorish music, folk music). But I suppose it is the people that I have established a long-term working relationship with (and usually personal friendship) that are the most interesting and that I favour.

What is your most memorable concert experience?

To be honest I find performances nerve-wracking (perhaps a reason I gave up giving them myself) so I try to put them behind me or at least view them in hindsight.  However, my Prom concerts – be they as a performer (I was in the National Youth Orchestra of GB as a percussionist) or composer – are very special memories. Going onto the stage with an audience at the RAH is a hard experience to beat. But then, when I was 17, accepting the applause of a Liverpool Philharmonic Hall audience after the premiere of my early symphony, and more than two decades later accepting the applause on the same stage for a large work for orchestra, choir and tenor and being greeted with a warm and extended applause once more, these will also remain in memory.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

Strive for technical mastery; be honest to your inner creative impulse; be curious and listen, read and experience art in all its forms; challenge yourself regularly if not daily (ask hard questions); make connections and get your name and work out there, however distasteful or difficult you may feel it is. If you wanted an easy profession you took the wrong turn.

Where would you like to be in 10 years’ time?

Still here.

Pianist Clare Hammond has released a disc of solo piano music by Kenneth Hesketh. Featuring Kenneth’s masterpiece, Horae (pro clara), a series of twelve miniatures written for Clare in 2011/12, this disc features a further three works which illustrate his kaleidoscopic approach to colour and the incisiveness of his imagination: Notte Oscura, Three Japanese Miniatures and Through Magic Casements. The disc is available now on the BIS label.

Described by Tempo magazine as “a composer who both has something to say and the means to say it”, Kenneth Hesketh’s work has met with widespread critical acclaim. He is a composer fluent in multiple genres and has worked with leading ensembles and orchestras in Europe, the USA, and the Far East.

He has received commissions from organisations including the Seattle Symphony Orchestra, the BBC Philharmonic, the Royal Liverpool Philharmonic Orchestra, the Göttinger Symphonie Orchester and Birmingham Contemporary Music Group amongst others. Hesketh’s work has featured at the Prague Premieres (Czech Philharmonic orchestra), Tanglewood, Munich Biennial, Beijing Modern Music, ISCM (Korea) and Gaudeamus Festivals. Appointed Royal Philharmonic Society/ PRS Foundation Composer in the House with the RLPO, his works were performed and broadcast as part of European City of Culture events. His music has been recorded on the London Sinfonietta label and has been the subject of a number of portrait discs on the NMC, BIS, Psappha and Prima Facie labels.

Hesketh’s early interest in other artforms, be they classical architecture, medieval iconography, poetry or Bauhaus constructivism, have more recently included a fascination with entropy, mutation and existentialism. His work has been described as “pure music, in possessing – because the notes seem to be creating their own harmonic and rhythmic forces and processes – a great freshness.” (Paul Griffiths).

Hesketh has worked with an array of important conductors including Sir Simon Rattle, Vasilly Sinaisky, Vasily Petrenko, Susanna Malkki, Ludovic Morlot, Pascal Rophé and Oliver Knussen who was an early champion of his work. Christoph-Mathias Mueller and Clark Rundell have also championed Hesketh’s music in Britain and Europe with orchestras including the Orchestra della Svizzera Italiana, SWR Sinfonie Orchester Baden-Baden and Ensemble 10/10.

His works for chamber and solo forces have been performed by Nicholas Daniel, Hansjorg Schellenberger, Sarah Leonard, Rodney Clarke, Sarah Nichols, Christopher Redgate, Tamsin Waley-Cohen and Clare Hammond. Commissions in this genre include the Endymion Ensemble (in honour of Hans Werner Henze’s 75th birthday), the Festival Présences (Paris), the Munich Biennale, Kissinger Sommer Internationales Musikfestival, ensemble Psappha, the Continuum ensemble, the Michael Vyner Trust for the London Sinfonietta, Ensemble contemporain de Montréal and the ASKO ensemble.

Hesketh’s music for the stage covers subjects as disparate as the Brothers Grimm and DNA. Commissioned by The Opera Group and Phoenix Dance Theatre, his work has toured nationally (including performances at the Royal Opera House in London). He has also composed music for three art films, all sharing an interest in the bizarre and eerie on celluloid.

Kenneth Hesketh is professor of composition and orchestration at the Royal College of Music, honorary professor at Liverpool University and active as a guest lecturer and visiting professor.

“Hesketh’s music is beautiful, complex and restless … His response to musical form is particularly remarkable … The colorful orchestration and palpable verve in the individual gestures and large-scale construction make me want to return to them again and again.” American Record Guide

The Raymond Variations

The ‘Raymond Variations for Piano’ (Set: 1) by S. G. Potts are based on the Andantino themes from the Raymond Overture of 1851 by French composer Ambroise Thomas (1811 – 1896). The work received its world premiere in London on 2nd December 2015 at the 1901 Arts Club, performed by Lorraine Womack-Banning as part of a concert in memory to her late husband Raymond Banning (former professor of pianoforte at Trinity College London)

The Variations are based on the three Andantino themes which form a central part of the Raymond Overture (although the third andantino theme from the overture is in itself a variant of the second theme). There are nine piano variations in total which include a mix of both full and short partial variations (including a very short declamatory two chord introductory variation). The variations are not numbered or set-apart in a conventional manner, rather they form part of a continuous whole, and are separated only by bridge passages and/or cadence points. They have been written for the most part in an easily accessible tonal style (with a passing nod to Messrs. Beethoven and J.S. Bach). A pdf perusal copy of the score can be downloaded from the British Music Collection at: http://britishmusiccollection.org.uk/… And a more in-depth analysis of the variations can be found at: http://open.academia.edu/StephenGPotts

The recording heard here in this ‘virtual performance’ has been produced through Sibelius 7.5, in anticipation of the next live performance(s) due to be filmed and recorded later in the year.  In agreement with the composer, and until September 2016, Lorraine Womack-Banning holds exclusive performance rights to the Raymond Variations, after which time the sheet music will be published and made available for wider performance.

Lorraine Womack-Banning, who premiered the work at the 1901 Arts Club in December 2015, writes about the music:

In April 2015 I received an email from Stephen Potts asking me to consider giving the premiere and making a recording of his new composition.

I agreed to consider this project and Stephen then sent me the MP3 along with a couple of pages of the score to help me make my decision. I was stunned to open the title page ‘Variations for Piano on the Andantino Themes from the Raymond Overture (by Ambroise Thomas 1811-1816)’ as I had just arranged to play a Memorial Recital for my late husband the Pianist and Trinity College of Music Professor Raymond Banning; it seemed as if fate had sent this score especially as it transpired that Stephen had no knowledge whatsoever of Raymond nor my connection to him.

As soon as I listened to the MP3 I absolutely loved Stephen’s composition and it was agreed that I would premiere it at the Memorial Concert for Raymond at the 1901 Arts Club on December 2nd 2015, the 3rd Anniversary of Raymond’s death.

The longer I live with this work the more I love it: the opening Andantino theme is deeply romantic with little indication of turbulence to come later. I love the drive and dark energy of the Variations and the dramatic ending. It is a work of extremes and a great piece to play. I will always feel strongly connected to it.



The composer, Stephen Potts, kindly took part in the Meet the Artist interview series:

Who or what inspired you to take up composing, and pursue a career in music?

My first hearing of the Tchaikovsky 1st piano concerto when I was 14 sparked my interest in classical music, this inspired me to study music seriously, and in particular to take up composition.

Who or what were the most significant influences on your musical life and career as a composer?

I feel I have been influenced most by the music of Beethoven and J. S. Bach more than any other composers. I admire the raw passion and strength inherent in Beethoven’s style and the contrapuntal and fugal writing inherent in Bach. On a more personal level, I was helped early in my music career by Layton Ring (former harpsichordist with the Northern Sinfonia) who helped stage my first large orchestral work (Romanza for Violin and Orchestra) and who successfully conducted a number of performances of this piece in the Newcastle Chamber Orchestra’s 1992 season.

What have been the greatest challenges/frustrations of your career so far?

The greatest challenge I usually have is in being satisfied with what I have written. I am by far my own most severe critic, this usually results in compositions taking an extremely long time to complete. Frustrations often include raising sufficient awareness of my music, which then leads to difficulties in finding performers to perform the music. I became so frustrated some 20 or so years ago at being unable to get much of my music performed and published that I gave up writing music completely; I instead concentrated on bringing up my young family and began a career in computing. In fact I have only just returned to composition some 3 or 4 years ago, and now that I am older and wiser, I don’t concern myself nearly as much about performances or publication. I am particularly less concerned with publication as there are so many other opportunities available today, especially with the avenues that have opened up thanks to digital media. It is also nice that publishing houses are not now monopolising (so much) what is delivered to an audience.

What are the special challenges/pleasures of working on a commissioned piece? 

The pleasures of working on a commissioned piece include: dedicated performers; a guarantee of a performance(s); and payment. Although with payments currently being so seriously low for a commissioned piece (on average within the UK only £918, Source: Sound and Music Composer Commissioning Survey Report 2015), I feel commissions are a luxury I can ill afford! However, I am fortunate enough that I do not have to rely upon commissions, this also brings with it the advantage that I can write what I choose, whenever I choose.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?

There is the opportunity to write to an individual musician’s strengths, and you are usually ensured of a very committed performance; also the opportunity to learn from individual performers and to receive their feedback during composition can be very valuable to a dedicated composer, particularly in my case, as I am not a performer myself. Therefore I find that not being a performer, I tend to have a very good relationship with musicians performing my music, they tend to trust me to write the music and I trust them to perform it.

Of which works are you most proud? 

I am proud of all the work(s) I write, otherwise I wouldn’t class them as ready for release, (I have actually shelved many more works than I have released) this due to being such a stern critic of my own work. I am very proud of the Raymond Variations for Piano (Set: 1) which I have just recently completed, but also equally as proud of the piece I am currently working on, a mixed choir setting of Longfellow’s Christmas Bells, I am particularly proud of the melody I have written for this piece and I believe it captures the essence of the season in the manner of carols from the Victorian age.

How would you characterise your compositional language? 

Tonal, with occasional elements of advanced 20th and 21st century harmonies where appropriate. Uppermost in my mind when I write music is that it needs to be passionate and that I need to reach out and engage with the audience. I do not write for academics, critics, or academic/critical praise; with me it’s always the listener first and foremost. I like it if an audience can walk out of a concert whistling or humming one of my melodies, to quote Webern, I will know I am accepted as a composer if I ever hear a Postman whistling one of my melodies!

How do you work? 

In many different ways, but the composition process is always very difficult for me, I think long and hard before I ever begin a piece. I have to be fully committed to the idea, and it all stems from an initial melody, motif or text; I won’t begin a piece until these aspects are clear in my mind. Tools I use are a piano for initial improvisation, and (nowadays) Sibelius software to notate and produce the score. The piano improvisation part usually comes first, (although I do often create melodies in my mind away from the piano) then I move onto notating with Sibelius, But once I have devised a theme or motif I am content with, (and this always goes through many changes) I develop that idea thoroughly in my mind and this is where the true composition process takes place. For example, once I decided that I wanted to write some variations on the Raymond overture, my mind couldn’t rest, I developed and mentally wrote the introductory variation in my kitchen while doing some cooking. But even after I have finished a piece, I invariably make changes: days, weeks, months, and sometimes even years later. I also find that if I am unable to sleep at night, that working on a piece as I am lying in bed can be very productive, it enables me to gather my musical thoughts from that day. I especially find the peace and quiet a perfect setting for creating some new snippets of music, and for developing and discarding other music that I might currently be working on.

Who are your favourite musicians/composers? 

Composers: J. S. Bach, Beethoven, and Janacek from the Baroque/Classical/Romantic periods, and Carl Vine the Australian composer, and Jennifer Higdon the American composer, from contemporary music.

Some favourite musicians include, pianists Andras Schiff, and Khatia Buniatishvili, and conductor Mark Elder.

What is your most memorable concert experience? 

The premiere of my ‘Romanza for Violin and Orchestra’ in 1992 at the Newcastle Gulbenkian Theatre, this was the first time I had heard one of my full orchestral works publicly performed, it was received quite favourably, and I went home that night very pleased.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?  

This is tricky…I think one thing I would personally raise to composers is: don’t feel pressured into writing atonal music (or ‘modern’ music) simply to try to impress academics, or to develop the cause of composition, or simply to write in an accepted contemporary style. This can be done in many other different ways (in my own personal opinion) which can incorporate tonal harmony and melodic motifs. Having written in both styles, I can personally state that I find it much more difficult to write in a tonal style, but ultimately it is more rewarding. However, this is not to say that I dislike contemporary art music written in the more ‘modern’ style, there are many pieces I could list that I really do like that are written in just this style.

Where would you like to be in 10 years’ time? 

Seated in a nice concert hall awaiting the premiere of my 9th symphony…So I’d better get started on those other 8!

What is your idea of perfect happiness? 

That’s easy, spending time in and around Southwold, and on Southwold beach with my partner Emma, then later relaxing and watching the sun go down with a nice pint of beer to hand.

What is your most treasured possession? 

My late father’s watch, it reminds me just how important time really is.

What do you enjoy doing most?

Studying and learning, I particularly enjoy studying and listening to new pieces of music.

Away from music, I love to spend time with my two year old grandson Harry.

What is your present state of mind? 

Hopefully it’s enough to say that I am an optimist.

Stephen G. Potts was born and lives in the North East of England. He has recently  returned to composition following an almost 20 year period of absence from music. He has studied: Traditional and 20th Century Harmony; Orchestration; Advanced Composition, and holds a Master’s degree in music. Works in progress (during 2016/17) include: a mixed choir setting of H. W. Longfellow’s Christmas Bells, and Set 2 of the Raymond Variations for Piano.

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Horae (pro clara) – Kenneth Hesketh

hesketh_coverThe latest release from pianist Clare Hammond is a disc for BIS Records of solo piano music by British composer Kenneth Hesketh –  Horae (pro clara) (2011/12), Notte Oscura (2002), Through Magic Casements (2008) and Three Japanese Miniatures (2002).

Horae (pro clara) was written for Clare Hammond following Kenneth Hesketh’s meeting with Clare at her debut recital at the Southbank Centre in 2010. They have subsequently developed a close artistic collaboration.

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Clare Hammond (photo: Julie Kim)
Clare says of Ken’s music that “it can seem overwhelming at times, yet if one engages with its textural intricacy, the scope of his extra-musical allusions, and volatile virtuosity, rich rewards lie in store”. Clare seems ideally suited to this type of repertoire. Her debut album, Piano Polytych, containing works by Kenneth Hesketh, Julian Anderson, Piers Hellawell, Giles Swayne and Philip Grange, revealed her to be a fine advocate for contemporary piano repertoire, combining flawless technique with a sharp intellect and musical sensitivity to bring such works to life with colour, vibrancy and rhythmic precision, and totally without the self-consciousness or affectation that sometimes accompanies performances of this type of repertoire.

Kenneth Hesketh’s musical language is drawn from a broad range of stimuli, including classical architecture, medieval iconography, poetry, Bauhaus constructivism and existentialism, and these extra-musical references bring texture, structure and a wide range of moods, tempi, colour and piquancy to his music. The works presented on this disc are complex, both technically and musically, with dense textures and abrupt voltes faces between the macabre and grotesque and the delicate and poignant. What Clare Hammond does so well is to bring a sparkling clarity to the tightly-packed textures without comprising her sensitive musicality and her ability to shift seamlessly between the myriad moods and styles of the pieces.

The first work on this disc, Through Magic Casements, takes its title from Keats’ Ode To A Nightingale and much of its soundworld seems to echo the imagery of the poem with its urgent febrile passages which fade to nothing at the end.

The work which occupies most of the disc, Horae (pro clara), was premiered by Clare Hammond at the Cheltenham Festival in July 2013, and consists of twelve miniatures which as a whole form a ‘breviary’ or book of hours. The movements are not titled; instead they have evocative performance directions and some incorporate literary references. Thematic material, such as Hesketh’s fascination with machines and automata, is shared across the set, thus linking the pieces, though they can be performed in any order. Some contain dense thickets of notes and melodic lines, abrupt and plangent bass interruptions, and vibrant rhythms (VII: Capriccioso), while others comprise spare shards and delicate scurrying traceries (VI: Nervoso, ma dolce, for example).

The third work Notte Oscura (2002) is a piano transcription of the first interlude in Hesketh’s opera The Overcoat, after Nikolai Gogol, and in it Hesketh highlights Gogol’s description of St Petersburg’s powerful and all-pervasive cold. The opening bass chords are perfectly judged by Clare Hammond, lending a sense of foreboding before the music moves into a more melodic passage, though the mood of menace and anxiety is never far away. Repeated tremolo notes high in the register suggest shards of ice, while the bass sonorities conjure up the vastness of the Russian landscape.

The suite Three Japanese Miniatures concludes the disc. The works are drawn from fragments and paraphrases of a larger work by Hesketh inspired by Japanese folk tales and each movement portrays a story, from a nocturnal wanderer who finds himself amid the imposing grandeur of a ruined temple to a winter sprite who takes revenge on a broken promise by taking the lives of a man and his children and finally the story of Bumbuku, a daemon who takes the form of a badger and lives in a tea kettle. The works are expressive, haunting and humorous, and, as in the previous works on this disc, Clare highlights their distinctive narratives with precise articulation and a vivid palette of musical colour.

Horae (pro clara) is released on 27 May on the BIS label. Further information and sound clips here

An interview with composer Kenneth Hesketh will appear in the Meet the Artist series on 2 June

Clare Hammond is the recent recipient of a Royal Philharmonic Society young artist award 

Un Hommage a Erik

Piano pieces inspired by Erik Satie

biography-default2016 marks the 150th anniversary of the birth of Erik Alfred Leslie Satie, and to celebrate this occasion British composer Richard Fowles has released a personal hommage to Satie and his musical orginality.

Today Satie’s Three Gymnopedies are amongst the most well-known and much-loved music for piano, but during his lifetime, Satie was relatively unknown to much of the musical world. An unremarkable student, he was bohemian by nature, sceptical of established ideas and authorities, and was considered lazy by his teachers. Despite his relatively low profile during his lifetime, Satie helped shape the music of the 20th century: he was an inspiration and mentor to the group of composers known as “Les Six”, which included Poulenc, Milhaud and Honegger, and influenced contemporaries such as Debussy and Ravel who recognised him as a “new spirit” with a highly original approach to composition. It was not until the mid-20th century that his work became more widely known and appreciated, thanks in part to the endorsement of American composer John Cage.

Composer Richard Fowles was encouraged to pursue this composing project by his piano teacher at Brunel University, Sally Goodworth, after he wrote a couple of Satie-inspired pieces as a student. The result is a suite of 16 piano miniatures in part inspired by Satie’s own music (Knossienne Nos 1-3 being the most obvious, where the eastern melodies of the original Gnossiennes are woven into a harmonic framework redolent of the original, but never an imitation of it) and also by the composer’s life and unusual personality. For example, ‘Sea Bird’ (track no. 6) was the nickname given by Satie to his uncle Adrian, like Satie an eccentric character and an important figure in Satie’s early life. The music juxtaposes quirky melodies which unusual harmonies to create a work which is moody, enigmatic and witty.

In fact, wit pervades these charming miniatures, particularly in the triptych ‘The Velvet Gentleman’ which references aspects of Satie’s attire with which he was most associated, including his identical grey velvet suits:

On most mornings after he moved to Arcueil, Satie would return to Paris on foot, a distance of about ten kilometres, stopping frequently at his favourite cafés on route. According to Templier, “he walked slowly, taking small steps, his umbrella held tight under his arm. When talking he would stop, bend one knee a little, adjust his pince-nez and place his fist on his lap. The he would take off once more with small deliberate steps.”

Robert Orledge, Satie Remembered. French translations by Roger Nichols.

See also: “A Day in the Life of a Musician” by Erik Satie

From: ‘Daily Routines’, a blog by Mason Currey (published in book form as Daily Rituals)

In many of the pieces, Fowles mirrors the “walking beat” that seems to pervade many of Satie’s own piano pieces, a meter which may have been the results of his “endless walking back and forth across the same landscape day after day . . . the total observation of a very limited and narrow environment.” (Roger Shattuck, in conversation with John Cage).

Other pieces in the collection are more melancholy: ‘A Walk to the Chat Noir on a Snowy Day’ conjures up the solitary figure of Satie, dressed in his grey velvet suit, making his customary walk to a favourite haunt in the centre of Paris. Meanwhile the set called ‘Biqui’ recalls Satie’s relationship with Suzanne Valadon and his feelings of devastation when the affair ended. Each piece is offered in Andante and Lento, the slower metres and repeated chord motifs lending a desolate yet intimate atmosphere to the music.

‘Sylvie’, the final track on the disc, is named after one of three poems written by Satie’s friend J.P. Contamine de Latour that Satie put to music in 1886.Its jazz harmonies and winding melody is infused with a tender, almost elegaic air.

Throughout the collection, Fowles avoids pastiche by offering us the essence of Satie’s music, and some of his contemporaries,  viewed through the lens of own originality and inventiveness which fuses eastern melodies with sensuous perfumed harmonies.

The music is performed on this disc by pianist Christina McMaster, whose affinity for this type of music is evident in her crisp articulation, preciseness of touch, and an acute sense of pacing which brings the music to life with vibrancy and atmosphere. And there is an added bonus, for pianists may also purchase the collection as sheet music (roughly Grade 6-8 level). Fowles has scored the music in a traditional way and also without barlines, à la Satie.

There is much to enjoy in this evocative collection, for those who love the piano music of Satie, and for those who are just beginning to explore it.

The sheet music is available now. Order here

The CD is released on 8th April.

Sample tracks here

Richard Fowles is an English composer, guitarist and teacher. He has worked as both a composer and session musician in some of the UK’s biggest recording studios and has provided the scores for a number of films and television programmes. He is also an in demand orchestrator. ‘Un Hommage à Erik’ is Richard’s debut album and book.

 

 

‘Steps’ by Peter Seabourne

‘Steps’ is a large-scale cycle of music for solo piano by British composer Peter Seabourne (born 1960). Begun in 2001, it now runs to five volumes and is a project which the composer, by his own admission, anticipates running through his life, as a kind of “companion”. It is significant in Seabourne’s oeuvre not only for its scale, but because piano music was the medium which drew Seabourne back into composer after a 12-year silence. Volumes 2, 3, 4 and 5 are available on the Sheva label, and also on Spotify. The composer has also made scores available via his website.

The first volume of the cycle is entitled simply ‘Steps’, but subsequent volumes have subtitles which point to the compositional impulse for each collection – Studies of Invention (Vol 2), for example, are inspired by Leonardo da Vinci’s inventiveness and creative genius, and include works with titles such as ‘Flying Machines’, ‘Perspectives of Disappearance’ and ‘Lenses for Looking at the Moon’ (a haunting, luminous piece which utilises the piano’s resonance and is redolent of Arvo PArt’s piano music). Volume 3, Arabesques, is inspired by the Alhambra in Granada, Southern Spain, while the most recent volume, Sixteen Scenes Before a Crucifixion, takes the Passiontide paintings of Caravaggio as its starting point, though the music is not overtly religious. The composer describes the pieces as nearer to Preludes and “a pianist’s Winterreise”. The first volume is not intended as a cycle, but rather a collection of pieces in the manner of Grieg’s Lyric Pieces, for example, and the pieces display a wide range of technical challenges, so that some are playable by younger or less advanced pianists.

In terms of style, all the works in the volumes are extremely varied and idiosyncratic, with much rhythmic and melodic interest, often very lyrical though not necessarily “tuneful”. Seabourne employs a colourful and piquant harmonic palette which recalls Debussy, Janacek and Messiaen, while the rhythmic vitality of the music is akin to Prokofiev; indeed the brevity and aphoristic nature of the pieces aligns them with Prokofiev’s ‘Visions Fugitives’ and ‘Sarcasms’. The works are challenging, and probably best tackled by the advanced pianist who enjoys such technical challenges as varied time signatures, polyrhythms, myriad articulation, filigree textures and one with the requisite artistic sensitivity and imagination to bring musical colour and invention to the music. It is always gratifying to find new music for the piano, and Steps is undoubtedly an important addition to the repertoire and definitely worth seeking out.

Different pianists appear on the recordings of Steps (Giovanni Santini, Michael Bell, Fabio Menchetti and Alessandro Viale) and all display sensitivity to the material and the varied moods and characteristics of this music, together with clarity of tone and pristine articulation. Pianist Minjeong Shin from Korea will record ‘Steps’ Volume 1 this summer.

Peter Seabourne will feature in a future Meet the Artist interview

peterseabourne.com
 

 

 

 

Meet the Artist……Matthew Kaner, composer

Who or what inspired you to take up composing, and pursue a career in music?

I’m not sure I can really attribute it to any one thing in particular. I always wrote music, even as a child, but I didn’t think it was an unusual thing to do. (Perhaps coming from a family of artists and musicians gave me a slightly odd perspective!) Strangely enough, a really key moment for me in my youth was giving up the violin: I absolutely hated learning the instrument, and once I’d stopped, I suddenly rediscovered my love of classical music, and began to play the piano and compose again.

I was very lucky at school too; we had an incredibly skilled and inspiring Head of Music who encouraged and supported me in my last-minute decision to apply for music degrees rather than languages.

Who or what were the most significant influences on your musical life and career as a composer?

Perhaps it’s a trite response, but the musicians who have influenced me the most tend to be those I can identify with on a personal level as well as musically. There’s always been something about Toru Takemitsu’s life and career, his struggle to come to terms with his cultural heritage and the difficulties of writing in Japan after the war, the fact that he was self taught and, by all accounts, an incredibly warm, humorous and unpretentious man that somehow strikes me as a good model of how to be a composer in these complex and ever-changing times.

Billie Holiday has also always been a heroine of mine; her ability to bear her soul in every recording she ever made (and no doubt every performance she gave), in spite of the many adversities she faced in life, inspires me continually.

Of course my teacher, Julian Anderson, also had a profound influence on me as a composer. I couldn’t really compose before I studied with him; I was full of ideas, but only had my instincts and a few very basic tools for realising them. He was incredibly encouraging, but also equipped me with the means to be constructively self-critical, which I’m immensely grateful for.

What have been the greatest challenges of your career so far?

There were some very difficult periods for me as a student. Composing has always been something of an emotional outlet for me, and I think it’s sometimes very exhausting to confront your emotions when life can seem so complex and uncertain. But then composing is always so much harder than you expect it to be anyway!

What are the special challenges/pleasures of working on a commissioned piece?

It’s always a privilege to be commissioned to write a new piece, but it’s not really that different from writing in your own time, apart from having the pressure of a deadline. That can be a useful catalyst for getting the piece finished though!

What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?

It’s always a great honour to be commissioned by a specific performer. Knowing that they have selected you to write for them based on their appreciation of your previous work is hugely reassuring as a starting point, and of course, it’s always wonderful when you can work closely with them on the work in progress, and even better when they’re pleased by the final composition and play it with enjoyment and commitment.

Working with Richard Uttley recently on my new Dance Suite has been fantastic. We live close to one another and the process really has been very collaborative. I’ve written bits of the piece, played or shown them to him, and he’s then responded and helped me with very practical suggestions; I’ve learnt so much from the process, and it’s only really possible to do that when you’re writing for a particular soloist.

On the other hand, it can be quite scary when you’re writing for a really prestigious group. I remember composing for the LSO and occasionally thinking – oh god, the LSO’s first violin section are going to play those notes: they’d better be good. I try not to let myself worry about that too much, however; otherwise I’d never be able write anything at all!

Which works are you most proud of? 

Someone recently told me that when a composer admits that they’re proud of a piece, it usually means they know it’s not very good! Personally I find it difficult to be completely happy with anything; the critical faculties you need to write your best music are also those that can make it difficult to enjoy them afterwards, because you’re always aware of what you could have done better.

Having said that, I am quite fond of a few short pieces that I had to write very quickly (one of them in just one day!) – perhaps it’s because I had somewhat reduced expectations of myself in those circumstances. Many others I’m relatively pleased with, but still have niggling doubts about passages I think could have improved with slightly more time and a better sense of focus.

Who are your favourite musicians/composers?

That’s hard to answer; there are so many, and I’m always on the look out for new pieces and performances to give me ideas and enrich my listening.

I suppose I would certainly want to name Guillaume de Machaut, Tomás Luis De Victoria, Henry Purcell, J.S. Bach, Mozart, Chopin, Brahms, Debussy, Ravel, Stravinsky, Szymanowksi, Herbie Hancock, Bill Evans, Wayne Shorter, Oliver Knussen, Henri Dutilleux, Hans Abrahamsen, Jonathan Harvey, Claude Vivier, Gerard Grisey and Franco Donatoni, but that’s far from an exhaustive list.

What is your most memorable concert experience?

I’ve many fond memories of concerts and it’s hard to rank them, but one that really sticks in my mind is a Chick Corea gig I went to with some friends back in 2004; he and his band just gave an utterly sensational live performance.

More recently I attended an incredibly good concert with the London Philharmonic Orchestra that included Ravel’s Daphnis et Chloë and the premiere of Julian Anderson’s Violin Concerto; it was an exquisite performance of the perfect programme. I also loved the Orchestra of the Age Enlightenment’s performance of the St Matthew Passion directed by Mark Padmore just before Easter this year.

What is your idea of perfect happiness? 

Retiring, once I’m old and tired of working, to somewhere beautiful in Italy where I can eat amazing food everyday and enjoy the good weather.

What do you enjoy doing most? 

Walking and cycling in the countryside and making things for the flat. (My dad is a furniture restorer and instilled a love of woodwork and DIY in me as a child.)

(interview date: June 2015)

Born in London, Matthew Kaner studied Music at King’s College London and was jointly awarded the Purcell Prize for graduating top of his year in 2008. He then gained a distinction for his Masters at the Guildhall School of Music & Drama, supervised by Julian Anderson, where he subsequently continued his studies as a Composition Fellow for a year. He has been teaching on various undergraduate courses at both King’s and the Guildhall School since 2009, becoming a Professor of Composition at the latter in 2013, in which year he was also made a Fellow of the Higher Education Academy.

Matthew has composed works for the London Symphony Orchestra, London Sinfonietta, Philharmonia, members of the BBC Symphony Orchestra, the Workers Union, Siglo de Oro, King’s College London Choir and Orfea amongst others, and soloists including Richard Uttley, Julia Samojlo and Sam Corkin. His music has been performed at various venues in the UK and abroad, including Seiji Ozawa Hall, the Barbican, the Royal Festival Hall, Wigmore Hall, the Purcell Room, LSO St. Luke’s and Snape Maltings. It has also been broadcast live on BBC Radio 3 and featured in the Aldeburgh, Norfolk & Norwich, City of London and Victoria International Music Festivals.

In the summer of 2012 Matthew was the Margaret Lee Crofts Fellow in Composition at the Tanglewood Music Center, Massachusetts, where he worked and studied with composers George Benjamin, John Harbison, Oliver Knussen and Michael Gandolfi. He attended the Britten-Pears Contemporary Composition course in 2011. In 2013, he was one of the winners of the Royal Philharmonic Society Composition Prize and was consequently commissioned to write a new work for the Philharmonia’s Music of Today series,  premiered in the Royal Festival Hall on 31 May 2014. He was also the recipient of a London Sinfonietta Writing the Future chamber commission. His quartet for flute, clarinet, viola and cello, Chants, was premiered in the Purcell Room as part of the New Music Day on December 8, 2013.

Matthew was the 2013 Composer-in-Association with the Workers Union, composing a work with electronics entitled Organum which they premiered with the support of the PRS for Music Foundation, culminating in a final performance at LSO St. Luke’s on 9th November 2013. His commission for the London Symphony Orchestra, The Calligrapher’s Manuscript, was premiered under the baton of Robin Ticciati in the Barbican Hall in September 2013 and received with critical acclaim.

matthewkaner.com