STERADIAN

 

Steradian examines the relationship between sound, light, space, choreography and theatre/ritual. More specifically, the piece is a study of the unique musical and physical characteristics of the trombone. Each instrument has a miniature high-powered torch strapped to the body. The piece is designed to be played in the dark; the low light intensifies the powerful beam of light emitted from each instrument and the direction to which it is pointed. The torch beam also helps to illuminate the physical mechanism of the instrument, but less of the player, so it seems that the instruments are uncannily playing themselves. The players project eerie shadows when a beam of light falls on them.

THEATRE OF RESONANCE

 

Theatre of Resonance examines the dramatic interaction between a live pianist and his/her uncanny video Doppelgänger through an exploration of resonance and different musical characters. It investigates ways in which the material for both instruments might overlap, as though they are in varying states of conflict and reconciliation. These dramatic interactions drive the structure, and each is built from a series of different characters, time-scales and sonorities. Performed by Christina McMaster. Developed during the LSO Soundhub scheme

 

GARDEN OF 
FORKING PATHS

 

Garden of Forking Paths was developed during the London Symphony Orchestra Soundhub Pilot Scheme in 2012. It is scored for bass clarinet, Bb clarinet and Eb clarinet  and was designed to be performed in the Jerwood Hall at LSO St. Luke’s. I would describe the piece as ‘site-reactive’ rather than site-specific, as it can be adapted to illuminate, and bring to life, many other spaces. This performance was at Shoreditch Church in March 2013.

THE HOUSE 
OF ASTERIA

 

This ambitious work is scored for mezzo soprano, 8 clarinets and strings, video and large building.

 

My objectives:

To create an immersive ‘environment’ in which every audience member has a unique listening experience while being completely enveloped inside the drama. It extends in front, behind, to the sides, above and below them.

To increase awareness of the dramatic role that the space can play in a musical performance i.e. become a character (as with Gothic Fiction)

 

To form a synergy between music, text, video, lighting, movement, and the space  

 

To examine, and develop to a new level of sophistication, the dramatic interaction between onstage and offstage

 

SCENES FROM A TRAGEDY

 

A trumpet concerto for the highly accomplished soloist Paul Mayes and players from the London Symphony Orchestra. This piece was inspired by scene changes in Arthur Miller's 'All My Sons', the soundtrack to Polanski's 'Chinatown' and the bustling cityscape of Naples.