This piece is a score which was created from the process outlined in dot drip line line. It was created for a performance at Bath Spa University with Open Scores Lab and explores ideas of gravity and the action of natural forces.
dot drip line line 8317: Fall is for four performers, one of whom (the ‘dripper’) will need to be equipped with an amplified jar of water and a small pipette.
While based on dot drip line line, this is a standalone piece and does not require performers to complete the notebook process in the original work.
More information about dot drip line line can be found here »
A finalist in the 2013 Runswick Prize at Trinity Laban Conservatoire of Music and Dance, Still River Air is based on seven photographs by iconic American photographer Ansel Adams, from the exhibition From the Mountains to the Sea at the National Maritime Museum at Greenwich.
The work is in three sections. The first describes two images of still water, the second a group of river-rapid images and the third represents photographs of waterfall spray. Still River Air is scored for the unusual ensemble prescribed by the terms of the competition and has a duration of just under 10 minutes.
Praise for Still River Air
From the adjudicator’s report:
‘I was drawn to distinctly different photographs during different sections of the piece which was a remarkable experience.’
‘the tone of the music felt incredibly well judged alongside the images of the exhibition.’
Erik Satie’s ‘Chanson’ is the first of his Trois autres mélodies, written in 1887. This arrangement, for voice, vibraphone and tape by Caitlin Rowley was commissioned by American composer Adam Di Angelo and completed in 2009. The tape part uses recordings from the Cylinder Preservation and Digitization Project at the University of California, Santa Barbara (with permission) as well as environmental sounds recorded in Ealing (London) and Brussels by the composer.
Not wanting to greatly change the beauty of Satie’s original music, the aim was for the tape part to underscore the feelings of fleeting pleasures, and the melancholy aspect of J.P. Contamine de Latour’s text, while the vibraphone and voice present the melody and accompaniment almost unaltered from the original.
The score comes with a CD of two versions of the tape part: one with and one without the vibraphone part, enabling either easy solo practice for the singer, or performance when a vibraphone may be difficult to come by.
Shimmer was composed in 1998 for Newcastle (NSW) pianist Rob Kelly. While it may sound at times a little like Debussy, its roots are strongly in the music of Stravinsky – especially structurally.
The structure of the work was created along the lines of Stravinsky’s Symphonies of Wind Instruments, which consists of fragments of themes juxtaposed against each other, chopping and changing, but gradually building a series of thematic lines through the piece.
Shimmer has two principal ‘lines’, one free and quasi-improvisatory; the other more rhythmic and structured.
The performance here, by Jeanell Carrigan, is from the Vox Australis CD Hammered (Australian Post-1970 Piano Music, Vol. 3) VAST027-2, released 2000 and available to buy from the Australian Music Centre.
Shimmer also exists in an alternate version for piano and percussion.