News
<<<21.10.24
I'm running a series of composer talks at New College, Oxford over the next few weeks. Come along!
11.10.24
11.10.24
Some photos of our second 'Martland Hits the Club' event which saw us at Oxford's iconic Bullingdon venue.
08.08.24
08.08.24
Delighted to get a nice review in The Guardian of my piece O Dreamland premiered by the incredible GBSR Duo at the Three Choirs Festival a few days ago. Rian Evans said of the piece:
Luke Lewis’s O Dreamland, remembering what would have been the 70th birthday of Steve Martland this year, took its title from the Lindsay Anderson documentary, much admired by Martland. The interpolation of recordings of a sea shanty, The Leaving of Liverpool – Martland’s home city – and samples of Martland’s own voice added highly evocative layers to Lewis’s own lucid interweaving of melody and rhythm.
The full review is here here.
13.03.24
12.03.24
09.02.24
26.10.23
Luke Lewis’s O Dreamland, remembering what would have been the 70th birthday of Steve Martland this year, took its title from the Lindsay Anderson documentary, much admired by Martland. The interpolation of recordings of a sea shanty, The Leaving of Liverpool – Martland’s home city – and samples of Martland’s own voice added highly evocative layers to Lewis’s own lucid interweaving of melody and rhythm.
The full review is here here.
13.03.24
I've a new piece for piano and percussion at the Three Choirs Festival 2024 in Worcester for the GBSR Duo to be premiered on July 28, with a second performance the following day. A second performance of Gardening Tips for string quartet and electronics comes too in Oxford on Friday June 14.
12.03.24
Steve Martland Hits the Club #1 at Tap Social
Our first 'Martland Hits the Club' gig is done. See photos below of the Komuna Collective playing Martland's Patrol and myself leading some young professionals in his Danceworks for ensemble. A second concert exploring Martland's music with further performances of specially written pieces by myself and Adam Possener is on Friday June 14 at Oxford's leading independent live venue The Bullingdon.
Our first 'Martland Hits the Club' gig is done. See photos below of the Komuna Collective playing Martland's Patrol and myself leading some young professionals in his Danceworks for ensemble. A second concert exploring Martland's music with further performances of specially written pieces by myself and Adam Possener is on Friday June 14 at Oxford's leading independent live venue The Bullingdon.
09.02.24
New project: Steve Martland Hits the Club
Often described as an ‘iconoclastic composer’, central to Steve Martland’s mission was to engage with people outside of the classical concert hall. With his band of saxophones, brass, guitars and drums he brought music to people in clubs, local arts centres and other less conventional venues. To top it all off, he was the only composer signed exclusively to Manchester’s legendary Factory Records.
The project takes Martland’s genre-crossing music as a starting point and will see his landmark pieces Danceworks (1994) for nine players and his string quartet Patrol (1992) performed alongside new works by Luke Lewis (Stipendiary Lecturer in Music, New College) and Adam Possener (former student and founder member of the Komuna Collective). A first concert brings this music to the Tap Social Taproom just off Botley Road at 8pm Tuesday 27 February and a second concert will be announced for June at The Bullingdon, Cowley Road. Both venues seldom host ‘classical music’ and so the hope to introduce new audiences to some new sounds. Both nights too will have live DJs throughout.
That's the copy for a new project with the Humanities Cultural Programme. For it I've written a new piece – Gardening Tips, for string quartet and electronics – that takes off from an interview Martland did in 2011 with the composer/academic Mike Searby. On brand as ever, Martland was funny, political, looked to challenge accepted cultural practices, and even managed to give advice on how to be a better gardener! In my piece I’ve used samples of the interview to provide the basic musical material but also used the electronics to have Martland start to critique his own thoughts and positions.’
Often described as an ‘iconoclastic composer’, central to Steve Martland’s mission was to engage with people outside of the classical concert hall. With his band of saxophones, brass, guitars and drums he brought music to people in clubs, local arts centres and other less conventional venues. To top it all off, he was the only composer signed exclusively to Manchester’s legendary Factory Records.
The project takes Martland’s genre-crossing music as a starting point and will see his landmark pieces Danceworks (1994) for nine players and his string quartet Patrol (1992) performed alongside new works by Luke Lewis (Stipendiary Lecturer in Music, New College) and Adam Possener (former student and founder member of the Komuna Collective). A first concert brings this music to the Tap Social Taproom just off Botley Road at 8pm Tuesday 27 February and a second concert will be announced for June at The Bullingdon, Cowley Road. Both venues seldom host ‘classical music’ and so the hope to introduce new audiences to some new sounds. Both nights too will have live DJs throughout.
That's the copy for a new project with the Humanities Cultural Programme. For it I've written a new piece – Gardening Tips, for string quartet and electronics – that takes off from an interview Martland did in 2011 with the composer/academic Mike Searby. On brand as ever, Martland was funny, political, looked to challenge accepted cultural practices, and even managed to give advice on how to be a better gardener! In my piece I’ve used samples of the interview to provide the basic musical material but also used the electronics to have Martland start to critique his own thoughts and positions.’
26.10.23
London Sinfonietta video
Really pleased to be able to share the video of my piece 'The Echoes Return Slow' written for the London Sinfonietta. What you have here is the premiere conducted by the Sian Edwards at the Southhbank Centre. Visuals by Simon Clode and huge thanks to Nathan Salsburg at the Alan Lomax Collection at the American Folklife Center, Library of Congress for permission to use the recordings made by Alan Lomax and thanks too to the makers of the 'Women of the Rhondda' film including Bridgid Edwards and Margaret Dickensen for their permission to use their recordings too.
4.7.23
4.7.23
Really pleased to be able to share the video of my piece 'The Echoes Return Slow' written for the London Sinfonietta. What you have here is the premiere conducted by the Sian Edwards at the Southhbank Centre. Visuals by Simon Clode and huge thanks to Nathan Salsburg at the Alan Lomax Collection at the American Folklife Center, Library of Congress for permission to use the recordings made by Alan Lomax and thanks too to the makers of the 'Women of the Rhondda' film including Bridgid Edwards and Margaret Dickensen for their permission to use their recordings too.
4.7.23
Score videos
Just thought to upload a few score videos recently and starting with the little quartet for Joseph Horovitz I wrote back in 2021 for the Solem Quartet:
Just thought to upload a few score videos recently and starting with the little quartet for Joseph Horovitz I wrote back in 2021 for the Solem Quartet:
4.7.23
Queneau Études recording
Pleased to be able to share one of the Queneau Études I wrote earlier this year for keyboard virtuoso Dónal McCann. This one is currently the second of the set and takes the Gigue of Suite No. 5 as a starting point. It's called 'Parechesis' – after one of the stories in Queneau’s Exercices de Style – which is a literary technique of 'the repetition of a sound in adjacent or nearby words'. For the musical version here I analysed the Bach to find as many similar triads in the horizontal writing as I could – that 'repetition of sound'. Then I froze them together vertically and then left any non-triadic note sit alone – terrible explanation but you'll hear what I mean.
the first few bars...
13.6.23
17.1.23
29.9.22
Pleased to be able to share one of the Queneau Études I wrote earlier this year for keyboard virtuoso Dónal McCann. This one is currently the second of the set and takes the Gigue of Suite No. 5 as a starting point. It's called 'Parechesis' – after one of the stories in Queneau’s Exercices de Style – which is a literary technique of 'the repetition of a sound in adjacent or nearby words'. For the musical version here I analysed the Bach to find as many similar triads in the horizontal writing as I could – that 'repetition of sound'. Then I froze them together vertically and then left any non-triadic note sit alone – terrible explanation but you'll hear what I mean.
the first few bars...
13.6.23
Bach's French Suites, contrained writing, and Queneau Études
Keyboard virtuoso Dónal McCann is performing a few of my new Queneau Études for harpsichord on Tuesday 13 June at the Chapel of New College, Oxford. Dónal's been performing all six of JS Bach's French Suites (1722-25) over a series of weekly concerts and for the last one I've rather quickly written some music – and Dónal's even more quickly learned it! I've used a French inspiration myself in the form of Raymond Queneau’s Exercices de Style (1947). Queneau was a founder of the Oulipo group of writers and this, his most famous book, has same short story retold in ninety-nine different literary forms. This kind of 'constrained writing' approach always resonates with me and really any composer who knows of it because it's what we do all the time – to quote Anton Webern on his approach to composing, 'the chains set me free'. So, I've used a series of contraints in my writing for Dónal where, for example, the 4th etude 'La Gavotte du Policier Trampoline' uses nothing but the notes of the Gavotte of Suite No. 6. This étude is essentially a unique 'reading' of the entire piece according to a strict scheme. Another example is the final étude that focusses on just the final cadential passage of the Allemande of Suite No.1. Here we loop the chords and cycle through the rhythms to let the player's hands at points go out of sync until the cycle is complete.
In the recital, Dónal's playing a handful of the new études alongside Bach's final French Suite (No.6 in E major) and some other works. I'll be writing a few more études in the next few weeks that will include live electronics that sees the player improvise around some historic recordings by Isolde Ahlgrimm and Thurston Dart, so look out for a full premiere soon! You should also take a listen to Dónal's recent CD of Bach & Walther Concerto Transcriptions.
Keyboard virtuoso Dónal McCann is performing a few of my new Queneau Études for harpsichord on Tuesday 13 June at the Chapel of New College, Oxford. Dónal's been performing all six of JS Bach's French Suites (1722-25) over a series of weekly concerts and for the last one I've rather quickly written some music – and Dónal's even more quickly learned it! I've used a French inspiration myself in the form of Raymond Queneau’s Exercices de Style (1947). Queneau was a founder of the Oulipo group of writers and this, his most famous book, has same short story retold in ninety-nine different literary forms. This kind of 'constrained writing' approach always resonates with me and really any composer who knows of it because it's what we do all the time – to quote Anton Webern on his approach to composing, 'the chains set me free'. So, I've used a series of contraints in my writing for Dónal where, for example, the 4th etude 'La Gavotte du Policier Trampoline' uses nothing but the notes of the Gavotte of Suite No. 6. This étude is essentially a unique 'reading' of the entire piece according to a strict scheme. Another example is the final étude that focusses on just the final cadential passage of the Allemande of Suite No.1. Here we loop the chords and cycle through the rhythms to let the player's hands at points go out of sync until the cycle is complete.
In the recital, Dónal's playing a handful of the new études alongside Bach's final French Suite (No.6 in E major) and some other works. I'll be writing a few more études in the next few weeks that will include live electronics that sees the player improvise around some historic recordings by Isolde Ahlgrimm and Thurston Dart, so look out for a full premiere soon! You should also take a listen to Dónal's recent CD of Bach & Walther Concerto Transcriptions.
17.1.23
Arvo Pärt Festival
Took some time for me to get around to posting some photos of the Arvo Pärt Festival up. At the end of November, Music at Oxford put on a fantastic festival devoted to the Estonian composer's work. I was asked to run a Q&A session with Director of the Arvo Pärt Centre, Anu Kivilo, and filmmaker Paul Hegeman abouthis film 'That Pärt Feeling' at the Ultimate Picture Palace. A few days after I moderated talks with musicologists Kristina Kõrver and Aile Tooming about the composer's masterpiece Fratres (1977) and his sketchbooks.
Photos by Simon Vail.
Took some time for me to get around to posting some photos of the Arvo Pärt Festival up. At the end of November, Music at Oxford put on a fantastic festival devoted to the Estonian composer's work. I was asked to run a Q&A session with Director of the Arvo Pärt Centre, Anu Kivilo, and filmmaker Paul Hegeman abouthis film 'That Pärt Feeling' at the Ultimate Picture Palace. A few days after I moderated talks with musicologists Kristina Kõrver and Aile Tooming about the composer's masterpiece Fratres (1977) and his sketchbooks.
Photos by Simon Vail.
29.9.22
Silk Roads with Katie Melua
Very cool to see a video out documenting the Silk Roads project with Katie Melua, where worked with Katie to mentor young singer-songwriters responding to the theme of the Silk Roads. The culmination of the project was a concert with full orchestra where I arranged and conducted the music. Have a look...
23.8.22
Very cool to see a video out documenting the Silk Roads project with Katie Melua, where worked with Katie to mentor young singer-songwriters responding to the theme of the Silk Roads. The culmination of the project was a concert with full orchestra where I arranged and conducted the music. Have a look...
23.8.22
mixing 'The Echoes Return Slow'
Had a super morning making the final edits and mix for the echoes return slow with engineer extraordinaire Simon Hendry today. Do check out Simon's website; he does some very cool stuff. The mix is sounding fantastic and will be on Youtube with the video of the premiere some time soon.
The photo below is of us getting deep inside the spectrum of one of the archive recordings that weaves in and out of the ensemble playing. There was a point in it where Lomax moves the microphone in trying to get closer to a miner who joins in the conversation, but as he puts the mic down there's an almighty clunk. While you don't really want to edit archive recordings, we felt it was just a bit too jarring. So, Simon went into a spectral analysis, lowered those frequencies and with it that clunk. It's still there a bit, of course, but it's a lot less distracting.
20.8.22
Had a super morning making the final edits and mix for the echoes return slow with engineer extraordinaire Simon Hendry today. Do check out Simon's website; he does some very cool stuff. The mix is sounding fantastic and will be on Youtube with the video of the premiere some time soon.
The photo below is of us getting deep inside the spectrum of one of the archive recordings that weaves in and out of the ensemble playing. There was a point in it where Lomax moves the microphone in trying to get closer to a miner who joins in the conversation, but as he puts the mic down there's an almighty clunk. While you don't really want to edit archive recordings, we felt it was just a bit too jarring. So, Simon went into a spectral analysis, lowered those frequencies and with it that clunk. It's still there a bit, of course, but it's a lot less distracting.
20.8.22
talks about Arvo Pärt
As part of the Arvo Pärt and a Littlemore festival in Oxford this autumn, I'm leading discussion on two films about the composer to be shown at the Ultimate Picture Palace on November 20. That Pärt Feeling: The Universe of Arvo Pärt by Paul Hegeman and Even if I lose Everything by Dorian Supin will be shown with the former having its UK premiere. I'm looking forward to chatting with the director Paul Hegeman and Anu Kivilo from the Arvo Pärt Centre.
What's more, we'll have a lecture session in Lecture Room 6 in New College, Oxford on November 22 at 11am that's open to the public with Kristina Kõrver discussing Pärt's sketches, manuscripts and compositional technique and Aile Tooming discussing insights gained from his diaries.
1.8.22
As part of the Arvo Pärt and a Littlemore festival in Oxford this autumn, I'm leading discussion on two films about the composer to be shown at the Ultimate Picture Palace on November 20. That Pärt Feeling: The Universe of Arvo Pärt by Paul Hegeman and Even if I lose Everything by Dorian Supin will be shown with the former having its UK premiere. I'm looking forward to chatting with the director Paul Hegeman and Anu Kivilo from the Arvo Pärt Centre.
What's more, we'll have a lecture session in Lecture Room 6 in New College, Oxford on November 22 at 11am that's open to the public with Kristina Kõrver discussing Pärt's sketches, manuscripts and compositional technique and Aile Tooming discussing insights gained from his diaries.
1.8.22
mixing and transcribing 'The Echoes Return Slow'
Two views of where we're at before the film of the London Sinfonietta commission comes out. The first shows all the speech – much of which was transcribed into 'music' to make the music of the piece itself – getting transcribed into text for some subtitles (this'll all find its way into the inside pages of the new version of the score). The second shot is of working through a rough mix of the piece to sort levels and mixing out. Hopefully, it'll all be public before the summer is out!
20.7.22
Two views of where we're at before the film of the London Sinfonietta commission comes out. The first shows all the speech – much of which was transcribed into 'music' to make the music of the piece itself – getting transcribed into text for some subtitles (this'll all find its way into the inside pages of the new version of the score). The second shot is of working through a rough mix of the piece to sort levels and mixing out. Hopefully, it'll all be public before the summer is out!
20.7.22
Cimarosa's 'Le astuzie femminili'
Was busy over the past months preparing a performing an edition of Cimarosa's 'Le astuzie femminili' (1794) for New Chamber Opera and the Band of Instruments, with musical direction by the Steven Devine and directed by Michael Burden. It's a very funny show and ran over a couple of weeks in Oxford. Below are some examples of the manuscripts. The first from the Biblioteca del Conservatorio di musica S. Pietro a Majella and the second from Sächsische Landesbibliothek, Dresden.
16.7.22
Was busy over the past months preparing a performing an edition of Cimarosa's 'Le astuzie femminili' (1794) for New Chamber Opera and the Band of Instruments, with musical direction by the Steven Devine and directed by Michael Burden. It's a very funny show and ran over a couple of weeks in Oxford. Below are some examples of the manuscripts. The first from the Biblioteca del Conservatorio di musica S. Pietro a Majella and the second from Sächsische Landesbibliothek, Dresden.
16.7.22
an aside: jazz gigs
I've been playing quite a bit of guitar recently with the Gorenberg Quintet (Jordan Gorenberg on keys, Felix Jackson on sax, Hani Elias on bass, Sam Max on drums). A little video is below of a solo on a little-known, but very beautiful, tune with the strange title 'The Saga of Harrison Crabfeathers'. The tune wasn't know to any of us, but it's overleaf from Ellington's 'Satin Doll' in The Real Book and the changes looked nice and modal, so I suggested we give it a try. It's become a mainstay of the set!
10.5.22
I've been playing quite a bit of guitar recently with the Gorenberg Quintet (Jordan Gorenberg on keys, Felix Jackson on sax, Hani Elias on bass, Sam Max on drums). A little video is below of a solo on a little-known, but very beautiful, tune with the strange title 'The Saga of Harrison Crabfeathers'. The tune wasn't know to any of us, but it's overleaf from Ellington's 'Satin Doll' in The Real Book and the changes looked nice and modal, so I suggested we give it a try. It's become a mainstay of the set!
10.5.22
Silk Roads conducting
Some photos of me conducting the orchestra for The Silk Roads project with Katie Melua and the amazing group of young songwriters, musicians and poets who came together to make a really special, moving and fun evening. Professional video was shot and I guess it'll be out before long... (Photos © Ian Wallman)
5.4.22
Some photos of me conducting the orchestra for The Silk Roads project with Katie Melua and the amazing group of young songwriters, musicians and poets who came together to make a really special, moving and fun evening. Professional video was shot and I guess it'll be out before long... (Photos © Ian Wallman)
5.4.22
Silk Roads tickets
Tickets for the Silk Roads Project with Katie Melua can be found here. Players from the BBC Concert Orchestra will be forming the orchestra too for this performance at the Sheldonian Theatre, Oxford on Thursday 28 April.
19.2.22
Tickets for the Silk Roads Project with Katie Melua can be found here. Players from the BBC Concert Orchestra will be forming the orchestra too for this performance at the Sheldonian Theatre, Oxford on Thursday 28 April.
19.2.22
Katie Melua and the Silk Roads
Delighted to be working on a new project with the wonderful singer/songwriter Katie Melua as part of her time as a Cultural Programme Visiting Fellow at the University of Oxford. The project takes inspiration from Peter Frankopan's book The Silk Roads and has gathered together some of the most talented young songwriters and poets from the University and wider community to collaborate on a series of songs that tell stories of time, trade, travel, and the sharing of ideas. We're working toward a concert on April 28 at the Sheldonian Theatre and, as well as running workshops, I'll be orchestrating the music and conducting the orchestra on the night. It's a very special project and the work that's been done has been stunning!
17.2.22
Delighted to be working on a new project with the wonderful singer/songwriter Katie Melua as part of her time as a Cultural Programme Visiting Fellow at the University of Oxford. The project takes inspiration from Peter Frankopan's book The Silk Roads and has gathered together some of the most talented young songwriters and poets from the University and wider community to collaborate on a series of songs that tell stories of time, trade, travel, and the sharing of ideas. We're working toward a concert on April 28 at the Sheldonian Theatre and, as well as running workshops, I'll be orchestrating the music and conducting the orchestra on the night. It's a very special project and the work that's been done has been stunning!
17.2.22
At the Southbank Centre
Flashback to when I felt famous for five minutes...
14.2.22
Flashback to when I felt famous for five minutes...
14.2.22
the echoes return slow
My new piece for the London Sinfonietta, the echoes return slow, received its first performance at a sold-out Purcell Room, Southbank Centre under Sian Edwards on February 6. I've written about it before, but in short it has at its core the recordings Alan Lomax made in Treorchy Miners Club in 1953 and interviews from the film 'Women of the Rhondda' (1973). Much of the speech and songs from these archives was transcribed in great detail and provided the basic musical material for the piece. The original audio was then threaded through the score (and triggered live by me on stage) and together with projections by Simon Clode, the piece shines light on these forgotten oral histories and the issues they raise of pay, gender roles and working conditions, right through to topics of the present day.
I ended up writing quite a long programme note that can be found here, if you're interested!
3.2.22
My new piece for the London Sinfonietta, the echoes return slow, received its first performance at a sold-out Purcell Room, Southbank Centre under Sian Edwards on February 6. I've written about it before, but in short it has at its core the recordings Alan Lomax made in Treorchy Miners Club in 1953 and interviews from the film 'Women of the Rhondda' (1973). Much of the speech and songs from these archives was transcribed in great detail and provided the basic musical material for the piece. The original audio was then threaded through the score (and triggered live by me on stage) and together with projections by Simon Clode, the piece shines light on these forgotten oral histories and the issues they raise of pay, gender roles and working conditions, right through to topics of the present day.
I ended up writing quite a long programme note that can be found here, if you're interested!
3.2.22
London Sinfonietta livestream
I was lucky enough to feature in an hour-long livestream by the London Sinfonietta, the echoes return slow. Myself and composer Alicia Jane Turner chatted with composer/cellist Zoë Martlew about our new pieces. We come in at the top of the show, so it's easy to find us! Do check out the whole show with appearances from composers Steve Reich, George Lewis, Alex Paxton, Tom Coult, Cassie Kinoshi, Alys-Scott Hawkins, Ben Oliver, a performance by violin legend Darragh Morgan, and a preview of Steve Reich's Violin Phase with Jonathan Morton!
23.12.21
I was lucky enough to feature in an hour-long livestream by the London Sinfonietta, the echoes return slow. Myself and composer Alicia Jane Turner chatted with composer/cellist Zoë Martlew about our new pieces. We come in at the top of the show, so it's easy to find us! Do check out the whole show with appearances from composers Steve Reich, George Lewis, Alex Paxton, Tom Coult, Cassie Kinoshi, Alys-Scott Hawkins, Ben Oliver, a performance by violin legend Darragh Morgan, and a preview of Steve Reich's Violin Phase with Jonathan Morton!
23.12.21
speech transcriptions
Just a little example of the speech transcriptions that have gone into the new London Sinfonietta piece. Final part of an interview from 'Women of the Rhondda'. First part the original at half-speed; the second with a melodic transcription added; the third the melodic transcription at full-speed. The piece is performed on 6 Feb 2022. Tickets here!
15.5.21
Just a little example of the speech transcriptions that have gone into the new London Sinfonietta piece. Final part of an interview from 'Women of the Rhondda'. First part the original at half-speed; the second with a melodic transcription added; the third the melodic transcription at full-speed. The piece is performed on 6 Feb 2022. Tickets here!
15.5.21
five portraits
The recording of my new little string quartet is up on this page premiered brilliantly by the amazing Solem Quartet.
15.05.21
The recording of my new little string quartet is up on this page premiered brilliantly by the amazing Solem Quartet.
15.05.21
new piece for string quartet
Am really pleased to have just finished a piece for the Solem Quartet. The commission was to write something for New College, Oxford to mark the election as an Honorary Fellow of celebrated (and simply brilliant) composer and former member of the college Joseph Horovitz. The concert happens to coincide with his birthday so the piece is as much a musical birthday card as anything else. I'll put the 'Composer's Note' that sits inside the score on this page but put simply all the score's material derives from some speech transcriptions I made of an interview Joseph did at the Royal College of Music. The second of the two quotes I transcribed concerned his selling of five portraits he'd done (he was first a painter) to pay for his studies in Paris with Nadia Boulanger. So, I thought I give in five portraits back and each is based on events he describes in the interview. Premiere on Monday 24 May.
7.4.21
Am really pleased to have just finished a piece for the Solem Quartet. The commission was to write something for New College, Oxford to mark the election as an Honorary Fellow of celebrated (and simply brilliant) composer and former member of the college Joseph Horovitz. The concert happens to coincide with his birthday so the piece is as much a musical birthday card as anything else. I'll put the 'Composer's Note' that sits inside the score on this page but put simply all the score's material derives from some speech transcriptions I made of an interview Joseph did at the Royal College of Music. The second of the two quotes I transcribed concerned his selling of five portraits he'd done (he was first a painter) to pay for his studies in Paris with Nadia Boulanger. So, I thought I give in five portraits back and each is based on events he describes in the interview. Premiere on Monday 24 May.
7.4.21
Little blogpost for the London Sinfonietta
See here for a little blog post about how my new piece for the ensemble is shaping up. I talk a little bit about the Shrove Duos, how composing for the large-scale piece is going, and why I'm interested in using the Lomax archive in the first place.
22.2.21
See here for a little blog post about how my new piece for the ensemble is shaping up. I talk a little bit about the Shrove Duos, how composing for the large-scale piece is going, and why I'm interested in using the Lomax archive in the first place.
22.2.21
Shrove Duos premiere
Was incredibly fortunate to have Jonathan Morton and Clio Gould give the first performance of the first of the Shrove Duos on Wednesday 17th as part of the London Sinfonietta's World Premiere Wednesdays, presented by the amazing Zöe Martlew. Catch it here (or just below) with chat, the piece and Jonathan performing a lovely piece by Cheryl Frances-Hoad too.
22.1.21
Was incredibly fortunate to have Jonathan Morton and Clio Gould give the first performance of the first of the Shrove Duos on Wednesday 17th as part of the London Sinfonietta's World Premiere Wednesdays, presented by the amazing Zöe Martlew. Catch it here (or just below) with chat, the piece and Jonathan performing a lovely piece by Cheryl Frances-Hoad too.
22.1.21
new piece for London Sinfonietta
Really pleased and grateful to have been selected as one of the four London Sinfonietta Writing the Future composers for 2020-21. It's an awesome and touching thing to be working with this mighty ensemble who've premiered so many of my favourite pieces. As part of the project I'll be writing a main piece based on the folk songs transcriptions that have occupied me of late, alongside a couple of smaller exploratory pieces that can be performed under lock-down or distanced conditions. You can read more about my project here.
5.12.20
Really pleased and grateful to have been selected as one of the four London Sinfonietta Writing the Future composers for 2020-21. It's an awesome and touching thing to be working with this mighty ensemble who've premiered so many of my favourite pieces. As part of the project I'll be writing a main piece based on the folk songs transcriptions that have occupied me of late, alongside a couple of smaller exploratory pieces that can be performed under lock-down or distanced conditions. You can read more about my project here.
5.12.20
Shrove Duos
As a warm-up to larger piece next year, I'm currently writing some duos for treble instruments. There's some kind of re-engagement with my roots in these pieces, being based on Welsh folk songs. I'm using as source material not melodies in a song book, however, but archive recordings of performances themselves. I've taken as a starting point for the first few duets 'The Pancake Song' which you can hear here.
5.10.20
As a warm-up to larger piece next year, I'm currently writing some duos for treble instruments. There's some kind of re-engagement with my roots in these pieces, being based on Welsh folk songs. I'm using as source material not melodies in a song book, however, but archive recordings of performances themselves. I've taken as a starting point for the first few duets 'The Pancake Song' which you can hear here.
5.10.20
Live at St. Pancras
Get swept away by this little sample of the gig I arranged and conducted with Oly Ralfe at the historic St. Pancras Old Church.
5.8.20
Get swept away by this little sample of the gig I arranged and conducted with Oly Ralfe at the historic St. Pancras Old Church.
5.8.20
work in progress...
Current work is an ensemble and electronics piece for the London Sinfonietta. The noted American song collector and ethnomusicologist Alan Lomax is best known for his recordings of American folk music and those he made of singers like Woody Guthrie ad Muddy Waters were a huge influence on the young Bob Dylan and the folk revival of the 60s. Less well known, however, is that his travels took him to Wales. At Treorchy Miners Club in November 1953, the American sat down with tape reels (and clearly many pints to record the sometimes sad but more often jovial songs and tales of old miners.
One notable character was Tom Thomas an ex-miner then aged 76 who seems to have been the evening's highlight. Take this fine example of Welsh humour for example here. These songs and tales are the starting point for a piece that draws on ideas of voice, translation, and belonging. The first stage is transcribing singing and speech from the tape recordings using computer software (and its fallibilities) to draw out their unique inflections and musicality. This then provides the basis of the music the players play. But threaded though the score will also be elements of the original recordings that themselves undergo transformations. In essence, the piece will be a conversation between distant lost voices of a very particular time and culture. But, with the subjective compositional choices I make, I want it to speak to broader present-day questions of identity and place.
7.8.20
Current work is an ensemble and electronics piece for the London Sinfonietta. The noted American song collector and ethnomusicologist Alan Lomax is best known for his recordings of American folk music and those he made of singers like Woody Guthrie ad Muddy Waters were a huge influence on the young Bob Dylan and the folk revival of the 60s. Less well known, however, is that his travels took him to Wales. At Treorchy Miners Club in November 1953, the American sat down with tape reels (and clearly many pints to record the sometimes sad but more often jovial songs and tales of old miners.
One notable character was Tom Thomas an ex-miner then aged 76 who seems to have been the evening's highlight. Take this fine example of Welsh humour for example here. These songs and tales are the starting point for a piece that draws on ideas of voice, translation, and belonging. The first stage is transcribing singing and speech from the tape recordings using computer software (and its fallibilities) to draw out their unique inflections and musicality. This then provides the basis of the music the players play. But threaded though the score will also be elements of the original recordings that themselves undergo transformations. In essence, the piece will be a conversation between distant lost voices of a very particular time and culture. But, with the subjective compositional choices I make, I want it to speak to broader present-day questions of identity and place.
7.8.20
Lockdown guitar quartet...
The Stakla Quartet presents a bit of Philip Glass in isolation!
5.8.20
The Stakla Quartet presents a bit of Philip Glass in isolation!
5.8.20
Postponed premiere...
Had things been different, my sextet based of the music of Aphex Twin (aka Richard D. James) would have been premiered by now. In advance of that future date, I just thought to post up the computer export of the final movement which does various things with two pieces of material from 'Flim' from the Come to Daddy EP of 1997.
23.5.20
Had things been different, my sextet based of the music of Aphex Twin (aka Richard D. James) would have been premiered by now. In advance of that future date, I just thought to post up the computer export of the final movement which does various things with two pieces of material from 'Flim' from the Come to Daddy EP of 1997.
23.5.20
Oly Ralfe EP release
A couple of years ago I did ensemble arrangements for performances of notes from another sea, the beautiful piano album by Oly Ralfe (from the Ralfe Band who amongst a few gorgeous albums provided the music the Paul King's funny and charming film Bunny and the Bull). Given Oly's not going to be playing live for a little while, a few tracks from the concert we did at St. Pancras Old Church, London in 2018 have been released.
You can get it from Bandcamp and listen on Spotify and Apple Music. All the links are here.
7.4.20
A couple of years ago I did ensemble arrangements for performances of notes from another sea, the beautiful piano album by Oly Ralfe (from the Ralfe Band who amongst a few gorgeous albums provided the music the Paul King's funny and charming film Bunny and the Bull). Given Oly's not going to be playing live for a little while, a few tracks from the concert we did at St. Pancras Old Church, London in 2018 have been released.
You can get it from Bandcamp and listen on Spotify and Apple Music. All the links are here.
7.4.20
Lockdown projects...
I'm currently hidden away in rural Cambridgeshire working on a few projects. First up is a new performing edition of Galuppi's La Diavolessa. The piece, written in 1755, was set to be performed by New Chamber Opera in the summer but has been rescheduled for 2021. The original manuscript is pretty tidy (see photos) with only a few editorial issues to attend to so, beside writing in a new English translation, the project is fairly straightforward.
After a really successful concert with Richard Walters late in the autumn, we're working on some new material together with producer and old friend Dan Jeffries. I'll post up a little sample of the concert from back in September in a little while...
In terms of straight-ahead composition, though, my current project is a piece for small orchestra. Performance plans have as expected gone a little awry but it still needs to be written. The first pages of a couple of movements are below the Galuppi...
2.12.19
I'm currently hidden away in rural Cambridgeshire working on a few projects. First up is a new performing edition of Galuppi's La Diavolessa. The piece, written in 1755, was set to be performed by New Chamber Opera in the summer but has been rescheduled for 2021. The original manuscript is pretty tidy (see photos) with only a few editorial issues to attend to so, beside writing in a new English translation, the project is fairly straightforward.
After a really successful concert with Richard Walters late in the autumn, we're working on some new material together with producer and old friend Dan Jeffries. I'll post up a little sample of the concert from back in September in a little while...
In terms of straight-ahead composition, though, my current project is a piece for small orchestra. Performance plans have as expected gone a little awry but it still needs to be written. The first pages of a couple of movements are below the Galuppi...
2.12.19
EP release...
Just in time for Christmas, an EP from the Gaz Coombes and orchestra gig earlier this year! You can stream tracks here. There'll be a new video released every Friday until christmas. You can order the limited edition record from here and all profits are headed to charities Yellow Submarine and Young Women’s Music Project.
Video of 'The Girl who Fell to Earth' below:
5.10.19
Just in time for Christmas, an EP from the Gaz Coombes and orchestra gig earlier this year! You can stream tracks here. There'll be a new video released every Friday until christmas. You can order the limited edition record from here and all profits are headed to charities Yellow Submarine and Young Women’s Music Project.
Video of 'The Girl who Fell to Earth' below:
5.10.19
Rehearsal clip from Gaz Coombes gig
To open the concert, I went a little bit 'Ravel's Bolero' on Gaz's instrumental 'Daydream on a Street Corner' from his debut solo album. Here's a little rehearsal clip. Exciting news to come about this gig too...
24.9.19
To open the concert, I went a little bit 'Ravel's Bolero' on Gaz's instrumental 'Daydream on a Street Corner' from his debut solo album. Here's a little rehearsal clip. Exciting news to come about this gig too...
24.9.19
A little rehearsal snippet from gig with Richard Walters
Before the proper recordings come, here's a little clip of the sold-out concert with Richard Walters in Oxford. To mark ten years since his debut album The Animal and its release on vinyl I arranged the whole thing for string quartet.
7.7.19
Before the proper recordings come, here's a little clip of the sold-out concert with Richard Walters in Oxford. To mark ten years since his debut album The Animal and its release on vinyl I arranged the whole thing for string quartet.
7.7.19
Holywell Sessions with Richard Walters
Fresh from orchestrating and conducting the Gaz Coombes show at the Sheldonian Theatre, the focus comes to a smaller ensemble for the sensitive and haunting music of Richard Walters. September 22nd sees a concert at the magnificent chapel of New College, Oxford marks the 10-year anniversary and first release on vinyl of Richard's acclaimed debut album 'The Animal'.
Tickets available here. Here's a taster...
18.6.19
Fresh from orchestrating and conducting the Gaz Coombes show at the Sheldonian Theatre, the focus comes to a smaller ensemble for the sensitive and haunting music of Richard Walters. September 22nd sees a concert at the magnificent chapel of New College, Oxford marks the 10-year anniversary and first release on vinyl of Richard's acclaimed debut album 'The Animal'.
Tickets available here. Here's a taster...
18.6.19
Early rehearsal with the Stakla Quartet at the Holywell Music Room
11.6.19
11.6.19
Gaz Coombes at the Sheldonian
Some more photos of the sold-out show at the Sheldonian.
23.5.19
Some more photos of the sold-out show at the Sheldonian.
23.5.19
I'm playing with the Stakla Quartet on 19th June at the Holywell Music Building in Oxford in support of jazz pianist Elliot Galvin. Tickets available here.
23.5.19
23.5.19
5* review of the Gaz Coombes show here.
19.5.19
19.5.19
Gaz Coombes at the Sheldonian
Before the official photos come, Gaz Coombes with my arrangements and conducting the superb Hot Fruit Orchestra...
15.5.19
Before the official photos come, Gaz Coombes with my arrangements and conducting the superb Hot Fruit Orchestra...
15.5.19
Gaz Coombes rehearsal
In advance of the full orchestra rehearsals, we had a little chamber-scale run through of the the music for the Gaz Coombes and the Hot Fruit Orchestra concert happening on 19th May. Things sounded pretty nice!! More soon...
3.4.19
In advance of the full orchestra rehearsals, we had a little chamber-scale run through of the the music for the Gaz Coombes and the Hot Fruit Orchestra concert happening on 19th May. Things sounded pretty nice!! More soon...
3.4.19
St. Pancras Old Church
Some shots from the packed-out gig with Oly Ralfe at St. Pancras Old Church in London on 10th October.
21.3.19
Some shots from the packed-out gig with Oly Ralfe at St. Pancras Old Church in London on 10th October.
21.3.19
Gaz Coombes and orchestra
Delighted to announce a concert with Gaz Coombes at the Sheldonian Theatre in Oxford. I'll be conducting and arranging Gaz's songs for orchestra which will span the former Supergrass frontman's solo career from the his debut Here Come the Bombs, to the Mercury Prize nominated Matador, and last year's critically- acclaimed World's Strongest Man. It's a one-off bespoke gig with all proceeds going to Oxford-based charities the Young Women's Music Project and Yellow Submarine. Tickets available HERE.
4.3.19
Delighted to announce a concert with Gaz Coombes at the Sheldonian Theatre in Oxford. I'll be conducting and arranging Gaz's songs for orchestra which will span the former Supergrass frontman's solo career from the his debut Here Come the Bombs, to the Mercury Prize nominated Matador, and last year's critically- acclaimed World's Strongest Man. It's a one-off bespoke gig with all proceeds going to Oxford-based charities the Young Women's Music Project and Yellow Submarine. Tickets available HERE.
4.3.19
Handel's Il pastor fido
One of the spring/summer projects this year is some work to construct a performing version of Handel's 1712 opera Il pastor fido for a new translation by Simon Rees. Performances of the new edition will be held in the summer by New Chamber Opera and directed by Michael Burden.
1.1.19
One of the spring/summer projects this year is some work to construct a performing version of Handel's 1712 opera Il pastor fido for a new translation by Simon Rees. Performances of the new edition will be held in the summer by New Chamber Opera and directed by Michael Burden.
1.1.19
New year treat
'A Forest in the City' by Oly Ralfe, arranged and conducted by myself at St. Pancras Old Church, London, back in October 2018:
10.12.18
'A Forest in the City' by Oly Ralfe, arranged and conducted by myself at St. Pancras Old Church, London, back in October 2018:
10.12.18
Art of Noises photos
Photos of the synth ensemble at the Art of Noises event at Modern Art Oxford on 29th November.
1.11.18
Photos of the synth ensemble at the Art of Noises event at Modern Art Oxford on 29th November.
1.11.18
Art of Noises II: Radiophonic Workshop
The poster for the second Art of Noises event at Modern Art Oxford on 29th November. Promises to be a fantastic night, especially given the performance by electronic music pioneers (of Doctor Who theme music fame) The Radiophonic Workshop.
24.10.18
The poster for the second Art of Noises event at Modern Art Oxford on 29th November. Promises to be a fantastic night, especially given the performance by electronic music pioneers (of Doctor Who theme music fame) The Radiophonic Workshop.
24.10.18
Ralfe show
A rather lovely review of the London show can be found here. Photos and audio of the gig coming soon...
16.10.18
A rather lovely review of the London show can be found here. Photos and audio of the gig coming soon...
16.10.18
Synth Ensemble
I'm arranging for and performing guitar and keyboards at the Art of Noises night at Modern Art Oxford on Thursday 29th November. The set will see us playing new arrangements of some classic John Carpenter film scores (that too few people know he wrote), some bits of Angelo Badalamenti's score for David Lynch's Twin Peaks, and a couple of crazy arrangements of Ligeti's Musica Ricercata.
5.10.18
I'm arranging for and performing guitar and keyboards at the Art of Noises night at Modern Art Oxford on Thursday 29th November. The set will see us playing new arrangements of some classic John Carpenter film scores (that too few people know he wrote), some bits of Angelo Badalamenti's score for David Lynch's Twin Peaks, and a couple of crazy arrangements of Ligeti's Musica Ricercata.
5.10.18
London gig
Rehearsing the arrangements with the ensemble before the gig with Oly Ralfe on Wednesday 10th October. Tickets HERE
10.9.18
4.7.18
Rehearsing the arrangements with the ensemble before the gig with Oly Ralfe on Wednesday 10th October. Tickets HERE
10.9.18
notes from another sea in London
Oly Ralfe brings his piano album notes from another sea along with my arrangements for an accompanying classical ensemble to London for the first time. St. Pancras Old Church is the venue and tickets can be bought here HERE. Here's a snippet of my arrangement of 'Glider' from the Holywell Sessions gig:
Oly Ralfe brings his piano album notes from another sea along with my arrangements for an accompanying classical ensemble to London for the first time. St. Pancras Old Church is the venue and tickets can be bought here HERE. Here's a snippet of my arrangement of 'Glider' from the Holywell Sessions gig:
4.7.18
Haydn's Il mondo della luna...
Over the last few months I've been working on a new performing edition of Haydn's 1777 opera buffa Il mondo della luna (The World on the Moon). This new version of a long forgetten gem sees a new English translation by Simon Rees, direction from Michael Burden, and musical direction from Steven Devine and his period ensemble The Band of Instruments. The performances are in the Warden's Garden of New College, Oxford and run the 4 (preview)/7/10/11/13/14 July. Tickets here.
Rough draft of the opening pages...
29.5.18
Over the last few months I've been working on a new performing edition of Haydn's 1777 opera buffa Il mondo della luna (The World on the Moon). This new version of a long forgetten gem sees a new English translation by Simon Rees, direction from Michael Burden, and musical direction from Steven Devine and his period ensemble The Band of Instruments. The performances are in the Warden's Garden of New College, Oxford and run the 4 (preview)/7/10/11/13/14 July. Tickets here.
Rough draft of the opening pages...
29.5.18
The critical edition of Cavalli's Erismena I worked on with Prof. Michael Burden is finally to be published in July '18 by Bärenreiter.
16.5.18
16.5.18
Photos by Stu Allsopp of the guitar quartet at Modern Art Oxford. More quartet gigs to come with new arrangements and commissions too.
2.5.18
1.5.18
2.5.18
Little snippet of my arrangement of 'Glider' by Oly Ralfe.
1.5.18
Testing out the Glass arrangement:
21.4.18
21.4.18
Recordings/videos of Oly Ralfe's Holywell Session coming soon. Next I'm playing in my four electric guitar arrangement of Philip Glass's Second String Quartet at Modern Art Oxford on May. Event listing here. The event also sees a workshop with Grammy Award-winning recording engineer/producer Andy Scheps whose credits include The Red Hot Chili Peppers, Adele, Metallica and Beyonce.
19.4.18
19.4.18
Sneak peak of the rehearsal with Oly:
18.4.18
18.4.18
Arrangements done, so looking forward to Holywell Session #1 with Oly Ralfe's stunning new album that's getting rave reviews all over the place notes from another sea on 20 April at 7.30pm. Tickets shifting but some left HERE.
20.3.18
21.2.18
New Haydn opera edition
20.3.18
Tickets are available HERE for the first of the Holywell Sessions at Holywell Music Room in Oxford. On 20 April at 7.15 singer/songwriter and frontman of the Ralfe Band, Oly Ralfe, will present his new solo piano album Notes from Another Sea with musical arrangements for classical ensemble written by me. More artists to be announced very soon!!
21.2.18
New Haydn opera edition
Alongside translator Simon Rees, I'm constructing a new performing edition of Joseph Haydn's 1777 opera buffa Il Mondo della Luna (The Moon on the Earth). This new version, the first for I think about half a century, will iron out many problems in existing versions and will be performed in the summer this year.
29.1.18
Installation for Nicolas Party's 'Speakers'
29.1.18
Installation for Nicolas Party's 'Speakers'
As part of the EMPRES Collective at Modern Art Oxford as part of Nicholas Party's 'Speakers' exhibition. The piece 'Talking Heads' uses technology buried in his sculptures to create an immersive sound field and narrative. The piece aims to celebrate the wide-ranging history of women’s contributions to academic life, and social and research communities in Oxford. The sound installation features recordings of female voices from across the city, woven with fragments of sound and musical textures. With voice contributions from Professor Mary Beard, Emeritus Professor of Music Susan Wollenberg, the Hurst St Press and Jackdaws FC.
The finished piece will run from 29th January to 18th February.
11.1.18
The Holywell Sessions
4.1.18
variations on themes of Richard D. James
18.12.17
Aphex Twin piece
15.12.17
the instagram pieces
18.11.17
Nicolas Party's Speakers and EMPRES
4.11.17
Drown
24.10.17
New opera...
25.9.17
Demons Land trailer...
16.9.17
Some more from Festival No.6...
The notation police.
Dutch Uncles mid rehearsal. Hands down one of the very best bands around.
12.9.17
Festival No.6
Palace in performance.
A very last minute horn part for Palace, utilising the Ford Madox Ford ruler!
Dutch Uncles rehearsing with the ensemble.
5.9.17
Arranging
28.6.17
Arne's Eliza and film trailer music
23.5.17
Doctoral dissertation
12.5.17
Official opening of Demons Land at National Trust Stowe
5.5.17
poem published
23.4.17
Little piano improv on a sunday
15.4.17
Fetonte is alive! (digitally, at least...)
11.4.17
Strings for Wildes
7.4.17
New work for five violins
23.3.17
Piano improvisation
10.2.17
Fetonte
10.1.17
Dr. Lewis
20.12.16
Cavalli
13.12.16
Field trip to Stowe
25.11.16
Demons Land at the Ashmolean
8.11.16
Demons Land: a poem come true
The finished piece will run from 29th January to 18th February.
11.1.18
The Holywell Sessions
Some exciting news coming soon about a new series of gigs at the Holywell Music Room in Oxford where pop bands and solo artists are going to collaborate with a classical ensemble that I'm the music arranger for. An outstanding list of artists is going to be announced over the next few weeks...
4.1.18
variations on themes of Richard D. James
A little bit more of a new piece...
18.12.17
Aphex Twin piece
Just putting pen to paper for a commission for Modern Art Oxford as part of the EMPRES Collective's electronic music night 'The Art of Noises'. My variations on themes of Richard D. James is for small ensemble and to be first heard on 3 May 2018 at the gallery, with a few more performances (including a London premiere) later in the year.
15.12.17
the instagram pieces
I started a new little thing this year. I've been writing very miniature pieces for piano which can be played off a smartphone from my instagram account. Here's a few of them...
18.11.17
Nicolas Party's Speakers and EMPRES
As part of the EMPRES Collective I've worked on devising a new collaborative piece based on Nicolas Party's exhibition Speakers which runs at Modern Art Oxford between 25th November and 18th February. Party's art comes in 'response to what the artist considers to be the heavily masculine energy of Oxford’s architecture and academic histories' and consists paintings acknowledging pioneering female figures in Oxford. Our musical response to this draws upon archival and recently collected interviews and various environmental soundfield recordings to create an immersive quadraphonic piece.
4.11.17
Drown
The front cover, at least, of mine and Leo's minature opera...
24.10.17
New opera...
I'm teaming up with my friend and collaborator Leo Mercer again. The weekend of the October 28th see renowed opera director Stephen Langridge take his place as the University of Oxford's Visiting Professor of Opera. As part of his visit, over the weekend Leo and I must some new work for the stage. From scratch. Leo and I have talked of working on something operatic after working together on music for his play ONLIFE in 2015 and so, with interest recently from a couple of places for operatic work, this intense way to start a piece might be the beginning of something very special.
25.9.17
Demons Land trailer...
The Demons Land installation at National Trust Stowe has had its spring/summer run and so perhaps a good time to show off the film's final trailer:
16.9.17
Some more from Festival No.6...
Photographer Rhodri Cooper documented the Festival No.6 Town Hall Sessions, wonderfully capturing the intimate and unique setting.
The notation police.
Dutch Uncles mid rehearsal. Hands down one of the very best bands around.
12.9.17
Festival No.6
This year saw me again work with Joe Duddell writing pop arrangements for Festival No.6. The 'Town Hall Sessions' saw the Festival No.6 Ensemble play with ISLAND, Dutch Uncles, Palace, The Slow Readers Club, KLARA and Simon Aldred.
Palace in performance.
A very last minute horn part for Palace, utilising the Ford Madox Ford ruler!
Dutch Uncles rehearsing with the ensemble.
5.9.17
Arranging
Starting some new pop arrangements for an upcoming festival...
28.6.17
Arne's Eliza and film trailer music
With the John Eccles edition almost done and some movie orchestration work to finish, I'm just about starting the edition of Thomas Arne's Eliza from 1754.
23.5.17
Doctoral dissertation
Thought it was about time I posted my doctoral writing up. You can read it here.
12.5.17
Official opening of Demons Land at National Trust Stowe
The exhibition of Demons Land – consisting paintings by Tom de Freston, the film by Mark Jones with music and sound design by myself and Jethro Cooke to the script by Simon Palfrey with the wonderful Steph Greer acting all parts – has officially opened at National Trust Stowe.
5.5.17
poem published
A tiny poem I wrote some time back appears in the new issue of Dog-Ear.
23.4.17
Little piano improv on a sunday
Let's call it '23.IV.17'
15.4.17
Fetonte is alive! (digitally, at least...)
My current opera project is working with Prof. Michael Burden of New College, Oxford, on a critical edition of Fetonte (1747) by Paradies. Though the work has likely not been performed for centuries, these samples of the opening Sinfonia are especially exciting!
11.4.17
Strings for Wildes
I recently did some string arrangements for a couple of songs by Wildes. I'll post links when the sessions are up.
7.4.17
New work for five violins
It's called romance for strings. Here's a draft of the first movement:
23.3.17
Piano improvisation
Often new pieces start with an extended improvisation, here's the one at the root of my new work for piano.
10.2.17
Fetonte
Working on the critical edition of Fetonte by Paradies. Rough 'before and after' samples...
10.1.17
Dr. Lewis
I had, and passed, my doctoral viva!
20.12.16
Cavalli
The new critical edition of Cavalli's L'Erismena is finally finished. It'll be published by Barënreiter sometime in the next year or so.
13.12.16
Field trip to Stowe
With the Demons Land project having an installation in the gardens and building of National Trust Stowe in spring/summer 2017, we went on a field trip to explore the possibilities.
25.11.16
Demons Land at the Ashmolean
We previewed a section of the Demons Land film at the Ashmolean Museum's Fright Friday event. Each showing of the film was preceded by a dramatic introduction by Kathryn Pogson's students at the London Dramatic Academy.
Photos by IW Photographic8.11.16
Demons Land: a poem come true
Demons Land is the story of an island underneath the known world, where in the early 1800s a man called the Collector brought a poem terribly to life. That poem is The Faerie Queene, a romantic epic by Edmund Spenser, first written in Ireland in the 1580s and 1590s. Spenser was serving the English crown, subduing the native Irish, and composing his shimmering, hallucinogenic poem. Amid the beauty, much violence.
Spenser never finished his poem – but colonial history would do it for him. In the centuries since its publication, The Faerie Queene has been coming true, over and over again, in colonised lands across the planet. It is coming true now, today, even as we breath.
'Demons Land: a poem come true' is a collaborative research project led by Professor Simon Palfrey of the University of Oxford. Funded by TORCH (The Oxford Research Centre in the Humanities) and the AHRC (Art and Humanities Research Council), it employs film, paintings, sculptures, music and text to create an exhibition telling Demons Land's imaginary history.
Palfrey's partners are artist Tom de Freston, film-make Mark Jones, composer Luke Lewis, and actress Stephanie Greer. The exhibition will be installed at specifically chosen heritage sites, starting with the gardens and buildings of Stowe National Trust in spring/summer 2017.
For further information see here.
1.5.16
flocks and companies
Spenser never finished his poem – but colonial history would do it for him. In the centuries since its publication, The Faerie Queene has been coming true, over and over again, in colonised lands across the planet. It is coming true now, today, even as we breath.
'Demons Land: a poem come true' is a collaborative research project led by Professor Simon Palfrey of the University of Oxford. Funded by TORCH (The Oxford Research Centre in the Humanities) and the AHRC (Art and Humanities Research Council), it employs film, paintings, sculptures, music and text to create an exhibition telling Demons Land's imaginary history.
Palfrey's partners are artist Tom de Freston, film-make Mark Jones, composer Luke Lewis, and actress Stephanie Greer. The exhibition will be installed at specifically chosen heritage sites, starting with the gardens and buildings of Stowe National Trust in spring/summer 2017.
For further information see here.
1.5.16
flocks and companies
The wonderful Welsh pianist Iwan Llewelyn Jones gave the first performance of my new piece flocks and companies at the Wales International Piano Festival last night. Below is a picture of the 'meet the composers' session led by Rhiannon Mathias and introduced by Iwan. (from left to right:
Maja Palser, Mared Emlyn, yours truly, Owain Llwyd, and Richard Baker).
A recording of the performance will be uploaded soon.
28.4.16
a little poem
A recording of the performance will be uploaded soon.
28.4.16
a little poem
Nice news that dogear have published a little poem of mine. Coming to many bookshops near you soon!
13.4.16
phrasing questions!
Working on a critical edition of any music brings about many problems. The question here is of what the correct phrasing of the violins is. The uppermost manuscript is the original Naples copy (1781), in the composer's hand. What is remarkable though is that the other two copies – the middle being Dresden also of 1781 and the lower being the Paris copy of some years later – having different phrasing. As a side point, it's interesting how even the dynamic markings differ! The solution here is relatively though. The violins must play a three-quaver phrase with a staccato fourth quaver. The clue, really, is that violin two of Naples is quite clear.
13.3.16
Cimarosa's first page!
1.3.16
A Parisian Painter in Oxford
13.4.16
phrasing questions!
Working on a critical edition of any music brings about many problems. The question here is of what the correct phrasing of the violins is. The uppermost manuscript is the original Naples copy (1781), in the composer's hand. What is remarkable though is that the other two copies – the middle being Dresden also of 1781 and the lower being the Paris copy of some years later – having different phrasing. As a side point, it's interesting how even the dynamic markings differ! The solution here is relatively though. The violins must play a three-quaver phrase with a staccato fourth quaver. The clue, really, is that violin two of Naples is quite clear.
13.3.16
Cimarosa's first page!
1.3.16
A Parisian Painter in Oxford
Amidst some orchestration, teaching at Oxford, and composition, my current bit of scholarly work is putting together a new edition of Cimarosa's Il Pittore Parigino (The Parisian Painter) from 1781.
It's based on the composer's manuscript held at the Conservatorio di Musica San Pietro a Majella, Naples. But, there being two other manuscripts (in Dresden from 1781 and Paris from some time after), I have helpful reference points for solving anything unclear or missing in the original copy. That said, I've a great reason for a holiday to Naples if that all fails...
The work was first performed in Rome at the Theatro Valle in 1781 - as we can see from the first image below – but what's especially exciting is that it's set to be performed throughout July as the summer opera of New Chamber Opera in Oxford, with a new translation of Giuseppe Petrosellini's libretto by Simon Rees.
Below are a few photos of the different manuscripts: Naples, Dresden, and Paris.
9.12.15
Cavalli's L'Erismena
2.12.15
It's not technology, it's nature 2.0: Leo Mercer's ONLIFE
16.10.15
La Zingaretta
23.9.15
Festival No.6
16.09.15
flocks and companies
19.08.15
going for a beer
16.08.15
Talk Talk
11.08.15
music box
28.07.15
piano update
More soon!
10.07.15
fans
03.07.15
'Cut ties with BP, composers and music researchers tell Royal Opera House'
21.06.15
piano music
18.06.15
Active Child in Chicago
10.06.15
coming up for air
17.05.15
five fingers
07.05.15
film music
08.04.15
before the devil is a busy man
21.03.15
letter from oxford
09.03.15
writing
10 .02.15
just improvising some stuff
31.01.15
a new year
12.12.14
the girl with
17.10.14
Orkest de Ereprijs at the Gaudeamus Muziekweek
06.10.14
designing
11.08.14
Orkest de Ereprijs at the Gaudeamus Muziekweek
07.04.14
Esbjerg Ensemble world premiere
16.03.14
Pulsar Festival reviews
06.03.14
Pulsar Festival interview
01.03.14
Young Composers' Meeting 2014 with Orkest de Ereprijs in Apeldoorn, NL.
checking some details with the magnificent Rob Vermuelen:
The work was first performed in Rome at the Theatro Valle in 1781 - as we can see from the first image below – but what's especially exciting is that it's set to be performed throughout July as the summer opera of New Chamber Opera in Oxford, with a new translation of Giuseppe Petrosellini's libretto by Simon Rees.
Below are a few photos of the different manuscripts: Naples, Dresden, and Paris.
9.12.15
Cavalli's L'Erismena
I've been working with Prof. Michael Burden of New College, Oxford on a new critical edition for Bärenreiter of Pietro Francesco Cavalli's (1602-1676) opera L'Erismena (1656). The manuscript itself has a fascinating story and was acquired by Oxford's Bodleian Library a few years ago after an export bar meant the funds could be secured for its purchase. It's an artifact that raises numerous questions: why this opera was translated to English in the first place (a plausible theory is that it was meant for a royal audience in London), who subsequently owned it (one dubious proposition is that Samuel Pepys did for a while), and who translated it into English from the original Italian by Aurelio Aureli? Yet, on top of all this is that it's the earliest surviving copy of an Italian opera in English! An interesting press release on the aquisition is here. A few photos of the manuscript are below:
2.12.15
It's not technology, it's nature 2.0: Leo Mercer's ONLIFE
I've composed music for the poet/writer/playwright Leo Mercer's new one-man play ONLIFE which is on at the Oxford Playhouse's Burton Taylor Studio Theatre from the 1st to 5th December. The trailer is below and what tickets are left can be found here. Much of the music that was used can be found on this little album I made on an old piano a few years ago here.
16.10.15
La Zingaretta
I've just embarked on an exciting project with Prof. Michael Burden of New College, Oxford. After its first performance for a few (hundreds of) years with just keyboard accompaniment earlier this month, we're putting together a modern full ensemble edition of Leonardo Leo's work of 1731 La Zingaretta (The Gypsy Girl). With a contemporary translation of the original Italian by Simon Rees, it receives its first performances in Oxford on 20th and 21st November.
23.9.15
Festival No.6
Rehearsal with Jane Weaver and Joe Duddell & No.6 Ensemble in Portmierion.
Photography by the legendary Karin Albinsson.
Photography by the legendary Karin Albinsson.
16.09.15
flocks and companies
'at first i thought', movement one of the new piano piece. First performance April 2016 in Caernarfon.
19.08.15
going for a beer
'He finds himself sitting in the neighborhood bar drinking a beer
at about the same time that he began to think about going there for one.
In fact, he has finished it.
Perhaps he’ll have a second one, he thinks,
as he downs it and asks for a third.'
– Robert Coover
He thought about writing a post to direct people to this Robert Coover story. In fact, he was already writing it. Just then as he started looking up the writer online to find out what the appropriate stylistic term might be, he had already been pondering the result for a few hours. Fabulation (Robert Scholes, The Fabulators, 1967). The term was new to him, but then he was knowledgable about similar literary experimentations by John Barth and realised it described things by writers he had read like Vonnegut and Calvino. Coover's 'Going for a Beer' played with time, folding it in on itself constantly, resulting in this drawing yet restrained momentum that was amongst the most engaging prose he had experienced. He wondered whether there was a musical equivalent to be worked out as he finished its first draft...
So, he starting logging into his website to upload the post and just then received an email
from someone saying how they were grateful to have been pointed in its direction by him the day before.
at about the same time that he began to think about going there for one.
In fact, he has finished it.
Perhaps he’ll have a second one, he thinks,
as he downs it and asks for a third.'
– Robert Coover
He thought about writing a post to direct people to this Robert Coover story. In fact, he was already writing it. Just then as he started looking up the writer online to find out what the appropriate stylistic term might be, he had already been pondering the result for a few hours. Fabulation (Robert Scholes, The Fabulators, 1967). The term was new to him, but then he was knowledgable about similar literary experimentations by John Barth and realised it described things by writers he had read like Vonnegut and Calvino. Coover's 'Going for a Beer' played with time, folding it in on itself constantly, resulting in this drawing yet restrained momentum that was amongst the most engaging prose he had experienced. He wondered whether there was a musical equivalent to be worked out as he finished its first draft...
So, he starting logging into his website to upload the post and just then received an email
from someone saying how they were grateful to have been pointed in its direction by him the day before.
16.08.15
Talk Talk
This isn't a blog exactly but I suppose it always had the potential. I've been listening again to a band I think are terribly undervalued: Talk Talk. The opening track of their album The Colour of Spring (1985) is a masterpiece. For a start, the confidence to just let the percussion opening run for more than half a minute before anything else comes in... But the real hook for me, as subtle as it is: the hoquetus moment between guitar, piano and bass at 1'05" that, and this is the reason I'm writing this post, I've ripped off countless times.
11.08.15
music box
It's been a busy few weeks amidst working on the doctoral thesis, getting the piano score edited, doing some work for publishers and a couple of orchestration projects. But, so taken was I with using the music box in Flocks and Companies, I've decided to make occasional pieces for its two-octave diatonic range in the curious key of A-flat. The title of this piece is pretty self-explanatory: as a Chinese tourist take a picture of my house in the rain (whilst I'm listening to James Tenney). Suppose it's some kind of musical journal of things. Here's where the rest will go in time.
28.07.15
piano update
My new piano piece Flocks and Companies is finished (I think). Here's one element of it:
More soon!
10.07.15
fans
The Luke Lewis fan club summer meeting.
03.07.15
'Cut ties with BP, composers and music researchers tell Royal Opera House'
I've been involved in putting together a letter to the Royal Opera house asking them rethink their relationship with the oil company BP. The letter unintentionally coincided with the news of BP being fined further for the Deepwater Horizon spill in 2010. So the fine was actually then $18.7 billion, not the $4.5 billion stated in our by then already printed letter. The letter text is below and can be found here on The Guardian website with all the signatories.
…………
On Friday night, the Royal Opera House will stage a BP-sponsored performance of Mozart’s Don Giovanni, transmitted across the UK on “big screens” emblazoned with the oil company’s logo. By associating itself with high-profile cultural events such as these, BP buys a social legitimacy that it does not deserve, and attempts to draw a veil over its environmentally destructive projects and corporate crimes around the world.
We are composers, musicians and music researchers who care passionately about classical music, the performing arts and the environment, and believe that the BP logo represents a stain on the Royal Opera House’s international reputation. BP was forced to pay the largest criminal fine in history of $4.5bn for its role in causing the Deepwater Horizon spill in the Gulf of Mexico. Now, despite the warnings of climate scientists, BP pursues new sources of oil in the fragile Arctic, and in the Canadian tar sands, where it tramples the rights of indigenous peoples. Its core business activities and political lobbying are actively pushing us towards a future with a global temperature increase well in excess of 2C.
We believe that the Royal Opera House should join the growing wave of universities, foundations and faith organisations cutting their ties with the fossil fuel industry. Little more than a decade ago, tobacco companies were seen as respectable partners for public institutions to gain support from – that is no longer the case. Now is the time to also draw a red line on funding from the fossil fuel industry.
…………
More information on this issue can be found at Art Not Oil. I'll try write more soon about why I think this is so important.
…………
On Friday night, the Royal Opera House will stage a BP-sponsored performance of Mozart’s Don Giovanni, transmitted across the UK on “big screens” emblazoned with the oil company’s logo. By associating itself with high-profile cultural events such as these, BP buys a social legitimacy that it does not deserve, and attempts to draw a veil over its environmentally destructive projects and corporate crimes around the world.
We are composers, musicians and music researchers who care passionately about classical music, the performing arts and the environment, and believe that the BP logo represents a stain on the Royal Opera House’s international reputation. BP was forced to pay the largest criminal fine in history of $4.5bn for its role in causing the Deepwater Horizon spill in the Gulf of Mexico. Now, despite the warnings of climate scientists, BP pursues new sources of oil in the fragile Arctic, and in the Canadian tar sands, where it tramples the rights of indigenous peoples. Its core business activities and political lobbying are actively pushing us towards a future with a global temperature increase well in excess of 2C.
We believe that the Royal Opera House should join the growing wave of universities, foundations and faith organisations cutting their ties with the fossil fuel industry. Little more than a decade ago, tobacco companies were seen as respectable partners for public institutions to gain support from – that is no longer the case. Now is the time to also draw a red line on funding from the fossil fuel industry.
…………
More information on this issue can be found at Art Not Oil. I'll try write more soon about why I think this is so important.
21.06.15
piano music
After a few busy weeks (especially of trying to finish the doctorate), I'm back composing proper. It's a solo piano piece for the Welsh International Piano Festival in Caernarfon and I'm just trying to get as much written in this space between getting the academic work ready for submission and some more projects with pop bands in the coming months. Oh, and it's called Flocks and Companies after the poem by Bernard O'Donoghue in Farmers Cross.
18.06.15
Active Child in Chicago
I've been doing some more work with pop bands and Joe Duddell. This time it involved transcribing and orchestrating a set for Active Child and members of the Chicago Youth Symphony Orchestra at Frank Gehry's Pritzker Pavilion at Millenium Park, Chicago on 22nd June. Hopefully there'll be some videos coming soon!
10.06.15
coming up for air
A little piece I wrote based on the second movement of Sibelius's Kyllikki found itself working as the soundtrack to a video made from fragments of a film by Irina Iordache. Its first public showing was at the Jacqueline du Pre Music Building in Oxford on the 6th June and it's below:
17.05.15
five fingers
Irina and I have finished working on '5 Fingers'.
It'll have its first public screening on 18th May at the Musichouse in Copenhagen and again at the JdP in Oxford on 6th June.
It'll have its first public screening on 18th May at the Musichouse in Copenhagen and again at the JdP in Oxford on 6th June.
07.05.15
film music
I'm working with the wonderful filmmaker Irina Iordache from the Ruskin School of Art on a short film.
Here's a demo of the soundtrack.
Here's a demo of the soundtrack.
08.04.15
before the devil is a busy man
Two years ago
I found an old piano.
I put some microphones inside it and just played.
The EP that it became
is here.
I found an old piano.
I put some microphones inside it and just played.
The EP that it became
is here.
21.03.15
letter from oxford
Here's a little piece for acoustic guitar I wrote a few days ago.
Some studio recordings of my solo guitar music are planned for the next few months!
Some studio recordings of my solo guitar music are planned for the next few months!
09.03.15
writing
My most recent programme notes for the lovely people of Music at Oxford for a concert by the English Chamber Orchestra under Howard Shelley.
10 .02.15
just improvising some stuff
just improvising some stuff
Posted by Luke Lewis on Tuesday, 10 February 2015
31.01.15
a new year
It's been a quiet couple of months for composition whilst I focus on my doctoral thesis and other writing work, but a few exciting things are on the go. The first is to start work on a new piece based on Ravel's Tombeau de Couperin for the Welsh pianist Iwan Llewelyn-Jones.
12.12.14
the girl with
I'm in the process of writing another electroacoustic piece based on found materials. It's based on a fragment of an obvious piece of Claude Debussy's. Here's a short demo:
17.10.14
Orkest de Ereprijs at the Gaudeamus Muziekweek
Here's a recording of the fantastic performance given by Orkest de Ereprijs
under their magnificent director Wim Boerman of what broken hierarchies (with a text by Geoffrey Hill)
at this year's Gaudeamus Muziekweek in Utrecht on 14th September.
06.10.14
designing
Here's a mockup design for my scores created by my brother, the designer and typographer Liam Lewis. As you can see, the work's title is positioned in the middle of the outer covers so that when the score is opened on a music stand it is clearly visible to the audience.
11.08.14
Orkest de Ereprijs at the Gaudeamus Muziekweek
The unparalleled Orkest de Ereprijs will perform what broken hierarchies
at this year's Gaudeamus Muziekweek in Utrecht on September 14th. Click the image for the festival programme (I'm on page 44).
07.04.14
Esbjerg Ensemble world premiere
The Esbjerg Ensemble gave a performance of
by which all eloquence gets justified (2014) at the concert
hall of the music academy in Esbjerg, Denmark, with six other wonderful composers from all over Scandinavia.
16.03.14
Pulsar Festival reviews
Had some great reviews after two pieces were featured in the Pulsar Festival in Copenhagen. The arts website Seismograf (in Danish) described
machines as 'a classic' and 'equal parts reminiscent of Stravinsky and Abrahamsen'. It also got some print coverage in
Weekendavisen where it was described as 'delicious'!
06.03.14
Pulsar Festival interview
Here's a video of the awesome composer Dan Jeffries and I giving an introduction to our pieces in the
electroacoustic concert at the 2014 Pulsar Festival in Copenhagen.
Myself and Hans Peter Stubbe Teglbjærg during the sound check for that very concert at the Studio Hall of the Royal Danish Academy of Music, Copenhagen (below).
Myself and Hans Peter Stubbe Teglbjærg during the sound check for that very concert at the Studio Hall of the Royal Danish Academy of Music, Copenhagen (below).
01.03.14
Young Composers' Meeting 2014 with Orkest de Ereprijs in Apeldoorn, NL.
checking some details with the magnificent Rob Vermuelen: