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Music, history, materiality: where we are coming from
Get PDFThe investigation of the history of music of Europe in the early modern era (which, for the purposes of our current project, ‘Materialising Musical Instruments’, covers the period from roughly 1520– roughly 1750) has been undergoing a series of tectonic shifts, particularly over the last 50 years or so, which have hugely broadened the field of what once constituted the relatively circumscribed field of ‘musicology’. Although almost all of us here today know this story, we very rarely rehearse it among ourselves, because what we do in our work focused on music and material culture feels for the most part so obviously validated as an approach that it’s easy to forget where we are, and therefore where we are coming from when we take our ideas beyond the confines of our particular historiographical space. This paper provides a brief introduction to where we – in our project ‘Materialising Musical Instruments’ are coming from, and where we are hoping to get
Amistad 3
No full textArrangement of Amistad (see https://researchonline.rcm.ac.uk/id/eprint/1389/) for viola and double bass, duration c.6.5 minutes
The lullaby of the land beyond (in fond memory of Oliver Knussen)
No full textFor solo piano.
A recording of this piece, played by the composer, is available on Prima Facie Records (PFCD095): https://primafacie.ascrecords.com/diatoms.html
Wunderkammer(konzert)
No full textFor chamber ensemble, duration 20 minutes.
This piece was commissioned by the Royal Liverpool Philharmonic for Ensemble 10/10 as part of the 'Composer in the House' initiative funded by the Royal Philharmonic Society and the PRS Foundation.
It was premiered on 19 November 2008, conducted by Clark Rundell.
A recording of this piece by Ensemble 10/10 is available on NMC Recordings (NMC D186): https://www.nmcrec.co.uk/recording/wunderkammerkonzer
Die hängende Figur ist Judas (Drei Perspektiven)
No full textFor solo cello, duration 9 minutes. 'Die hängende Figur ist Judas' (The hanging figure is Judas) was commissioned by Dr. Margitta Giera as a gift for the German sculptor Michael Langer. It was premiered on 2 September 2001 by Zoë Martlew at The Warehouse, London.
A recording by Zoë Martlew is available on SoundCloud: Movement 1: https://soundcloud.com/zoemartlew/die-haengende-figur-ist-1; Movement 2: https://soundcloud.com/zoemartlew/die-haengende-figur-ist; Movement 3: https://soundcloud.com/zoemartlew/die-haengende-figur-ist-judas
Gabo's opus
No full textFor solo flute, duration 13 minutes. This work is influenced by a series of wood-engraved prints titled 'Opus' by Russian artist Naum Gabo. It was premiered on 22 September 2005 by Lisa Nelsen at The Warehouse, London. The recorded extract on the video tab below is from the second movement and is performed by Lisa Nelsen (beginning at 1:05)
Fra duri scogli
No full textFor chamber ensemble, duration 5 minutes.
This work takes a fifteenth century madrigal by Florentine abbot Don Paolo di Firenze as its starting point. It was premiered on 7 January 2003 by the New Art Ensemble at The Warehouse, London.
It has been recorded by Psappha, conducted by Nicholas Kok (on the album 'Theatre of Attractions'): https://www.psappha.com/spotify