Introduction
These pieces, based largely on the compositional frameworks of great 18th-century chamber music including the string quartet and piano trio, have also been inspired by my love of more recent musical ideas and styles. My ideal is a fusion of old and new, where the music is both grounded in a definable structure and given the melodic, rhythmic and harmonic freedom to appeal to a broad spectrum of performers and listeners – I enjoy the challenge of fusing ideas and styles together into something that is both approachable and accessible. It’s not about creating something entirely new, but about finding and sharing a voice that has become so much a part of me, and of my musical journey.
Composer’s Notes
String Quartet in A minor (2023)
Modelled on a Classical three movement quartet, this work begins with an Allegro vivace using driving syncopations and a lyrical melody. This is followed by a dark and brooding Adagio with a melodic ostinato pervading much of the movement. The work concludes with an expressive theme and five variations of increasing intensity.
Piano Quartet in C (2018)
This work is structured in the manner of a Baroque suite. A short opening Prelude is followed by a lively Menuetto that makes extensive use of its opening motifs. A central Trio section offers a calm variant on the same motif. The Sarabande is the longest movement within the quartet and provides the heart of the work. The opening theme, beginning on the lowest notes of the viola, is used in counterpoint to other melodies as the movement progresses. The sombre mood of this movement is then dispelled instantly by the lively Finale, a short gigue in fugal form.
Incidental music from A Midsummer Night’s Dream (2017)
These three short pieces for string quartet appear within key moments of the one-act opera of A Midsummer Night’s Dream and highlight the three sets of characters within the play; the fairies, the lovers and the mechanicals. The Overture alludes to the world of the fairies as well as Bottom’s comic appearance as an ass.
The Nocturne provides a suitable interlude to the lovers’ slumber, while the Bergamask provides a celebratory dance towards the end of the play.
Piano Trio in G (2013)
The sunny three-movement work uses classical textures and structures as well as jazz-inspired rhythm and harmony. The work, written and dedicated to the composer’s first child, Emily, also features a lullaby within the second movement Romanza. The finale opens and closes with a lyrical theme shared by both string instruments. This is framed around a busy presto with the cello chasing at the heels of the violin over a busy piano part.
Sonata for Flute, Violin, Cello and Piano (2011)
Written in 2011 for the Alaunus Ensemble, this short work for the unusual combination of flute, violin, cello and piano is a light-hearted divertimento with its three connected movements giving a certain a twentieth century French flavour! A brief intrada leads to a triple time ‘soirée’ before bursting into a lively dance in seven time.
Tresillo for piano quintet (2008)
Tresillo is the name given to a common rhythmic pattern used in Latin American music, of three notes in duple metre. It is used in this piece in every bar of the initial twelve-bar theme and then extensively throughout the following ten variations. Other themes grow from this, such as an ascending lyrical idea first played by the second violin, then taken up by piano and shared throughout the ensemble. The tresillo rhythm gradually disappears within the middle variations before asserting itself in the seventh variation and is then maintained until the end. The initial ‘theme’ returns to close the piece.
Cello Sonata in C (2006)
This sonata, in three movements, makes extensive use of the distant harmonies of C major and F-sharp major. The two chords are initially layered together as a chordal theme on the piano accompanied by whole-tone pizzicato scales on the cello. This thematic idea is transformed at the end of the first section. The movement ends quietly with the cello at the bottom of its range.
The tranquil central movement starts in stillness before opening out with a melody of rising intensity. In contrast to this, the final movement starts with a lively cello theme punctuated by piano notes. This energetic Allegro vivace outlines the same distant harmonies as the opening movement. A waltz-theme contrasts with the opening idea and is also used to draw the sonata to a powerful ending.
Flute Sonata (2004)
This lyrical three-movement work begins with a lively Allegro spirito. This is followed by an expressive ‘song without words’ movement. The lyricism is then maintained in the final movement that opens with an almost folk-like melody. This later asserts itself with a closing flourish.
Preview and purchase
You can listen to individual tracks or purchase the album from the online store at Convivium Records.