49 research outputs found
Eperons
No full textCD recording of Eperons for oboe and percussion recorded by Christopher Redgate and Julian Warburton on the CD Greatest Hits of All Time.
Label: Metier msv 2851
Spectral morphology in performance
No full textGround-breaking oboist Christopher Redgate
and long-standing collaborator, composer Dr
Paul Archbold, discuss the acoustics of the new
oboe created by Redgate and the British
manufacturer Howarth of London. They
demonstrate the creative possibilities of the new
instrument, and live spectral morphology in
improvisation and in composition
What is it like to be an improviser?
No full textWhat is it like to be and Improviser?
Extract from an hour long interview view with musicians Roger Redgate, Christopher Redgate, Neil Heyde and Matthew Wright after a free improvisation given in the Holywell Music Room, Oxford.
Interviewers by Eric F. Clarke and Mark Doffma
Concerto for Improvising Soloist and Two Ensembles
No full textCD recording in two versions.
The work is scored for improvising soloist/ improvising ensemble and notated ensemble.
Performers:
Christopher Redgate (soloist)
Ensemble 1
Christopher Redgate (oboe)
Matthew Wright (turntables)
Mark Knoop (piano)
Ensemble 2: Ensemble Exposé directed by Roger Redgat
Eperons
No full textEperons (oboe and percussion). Commissioned by Christopher Redgate and Elizabeth Davies
Ausgangspunkte
No full textCD recording of Ausgangspunkte for solo oboe on the CD Oboe +: Berio and Beyond.
Label: Oboe Classics 201
Oboe Quintet
No full textCD recording of Oboe Quintet on the CD Greatest Hits of All Time
CD Metier msv 2851
Multiphonics and the Oboe
Get PDFMultiphonics & the oboe is a video presentation discussing the execution and notation of oboe multiphonics with illustrations of their use by contemporary composers. The presentation features performances of extracts from compositions by Archbold, Holliger, Redgate and Roxburgh.
The accompanying pdf file “Multiphonics and the oboe” discusses the differences between types of oboe, provides spectrograms of several types of multiphonic, evaluates notational strategies and includes a bibliography. A further three pdf files include the printed music for some of the musical extracts featured.
Contents:
1 Documentary: Multiphonics and the oboe
(video file 20’07”)
a 00:00:28 What are Multiphonics?
b 00:08:16 Cataloguing and Notating Multiphonics
2 Performance extract: Paul Archbold “a little night music” (video file 8’51”)
3 Performance extract: Heinz Holliger “Study in Multiphonics” (video file 1’58”)
4 Performance extract: Roger Redgate “Ausgangspunkte” (video file 2’37”)
5 Performance extract: Edwin Roxburgh “Antares”
(video file 2’59”)
6 Discussion: Multiphonics in Archbold “a little night music” (video file 18’04”
Composition changing instruments changing composition
No full textThis chapter discusses the collaborative, cyclical relationship between composition and instrument development as it follows the journey from technically extreme compositions, via the design and manufacture of the Howarth-Redgate oboe, to composers’ responses to this new instrument. The chapter takes as its starting point the extreme technical demands that result from the development of extended techniques—for example, the problems with the standard instrument’s keywork that stem from such compositional approaches. Then, through reference to Roger Redgate’s Ausgangspunkte and other works that sit at the limits of the playable, the chapter explores the idea of compositional risk-taking as a forum for collaboration. Following a discussion of the first compositional explorations of the redesigned oboe, the potential for further development of the instrument is considered.</p
Concerto for Improvising Soloist and Two Ensembles
No full textConcerto for Improvising Soloist and Two Ensembles was commissioned by the Huddersfield Contemporary Music Festival with funds provided by the Britten-Pears Foundation.
First Performance: Bates Mill, Huddersfield Festival
Soloist: Christopher Redgate (oboe)
Improvisers: Mattthew Wright (turntables/laptop), Mick Grierson (laptop/guitar/audio visual projection), Mark Knoop (piano)
Ensemble Exposé, directed by Roger Redgate.
This work forms a significant part of my research into notation, improvisation and the physicality of performance seen as possible forms of material.
The work explores a wide range of notational strategies from very precise (complex) notation to various degrees of freedom in spatial/open form notation. The material for Ensemble I is largely notated, whereas Ensemble II is formed by improvisers whose ‘material’ consists of instructions as to how they might react/engage with the notated material. Similarly the soloist’s part is improvised with specific instructions as to how s/he might develop/supplement material from the ensemble. Fully notated music alternates with completely improvised music. The order of the sections is free or they may also be combined/subdivided.
The aim of this work is to explore the nature of musical material in relation to instrumental techniques in terms of what can or can’t be notated and what might form meaningful boundaries of notation. Each section addresses different notational/improvisational contexts with specific instructions as to how the material should be interpreted (see score).
For sometime I have been working with ‘complex’ notational strategies which aim to redefine the gestural nature of material and performative responses to notation beyond certain inherited concepts as to how notation functions as a one to one mapping of a musical idea, at the same time using extended playing techniques and combinations of actions, which seem more related to the work of free improvising musicians and perhaps transcend conventional notation. As an experienced improviser myself, the potential connection between these extremes became apparent. In this work, therefore, I was interested in exploring such boundaries in relation to how the psychological aspects of notation or freedom change the nature of the material
