NYO Composers Spring 2016

This Spring we were given a lot to think about. Our pieces all started out as 'open score' music. This meant that at the start of the writing process we didn't know the precise instrumentation, only that we had to write for a large group of players. This allowed us to concentrate on our core musical ideas.

We also discussed about Michael Daugherty's Fire and Blood (a piece part of the NYO Spring programme) and in particular the inspiration he took from the industrial murals of Diego Rivera and other composers who have been inspired by similar ideas. They have been thinking of ways to evoke and/or be inspired by industrial, mechanical or urban environments. Expect powerful, monumental sounds. 

David Palmer - Glitch

Glitch is an open scored piece which explores 'mechanical' and 'organic' (or romantic) musical material, and the way in which the organic can be found in glitches - defects or malfunctions - in the mechanical. Repetition and a clear sense of pulse are important aspects of the mechanical, whereas the lack of these define the organic.

Edward Percival - Elegy to the countryside

Elegy to the countryside is my reaction against being asked to write about cities and industry. The start of the piece portrays the abstract beauty of the countryside, however this quickly transforms into a portrayal of my anger at the destruction of this wonderful phenomenon.

Lauren Marshall - As we unravel together

In approaching this brief, I considered industrialisation and globalisation, and how the pursuit of order and security, despite our perceived notions of liberty, has resulted in the loss of the individual. I have tried to reflect this idea in my piece through structure and texture, presenting two antithetic sound worlds, which merge to create a single statement.

Laura Newey - Unbend the Wild Curve

A single rhythmic and melodic contour runs througout this piece, at first distorted and obscured, then gradually crystallising into a unison line. The title is taken from Yevgeny Zamyatin's dystopian WE, the model for both Brave New World and Nineteen Eighty-Four.



Joanna Ward - revolutions

This short piece grew from a melodic fragment which evolves, repeats, and gradually becomes more prominent as the piece progresses. It is juxtaposed with a free, layered background texture which gradually disappears. Any tangible connection to the theme of city and industry is elusive, but the sonic progression from rhythmic freedom to controlled ‘swing’ could, perhaps, evoke something cosmopolitan. 

Freya Ireland - Highway

Highway was inspired by the idea of observing two bodies of traffic moving in opposite directions. There are two distinct kinds of music which are cut into each other abruptly interrupting the overall trajectory. One is characterised by bombastic ascent, the other by an elaborate, richly harmonised line. As a 'calmer' music shortens, the more aggressive music take over; typical of many traffic experiences...

Rob Durnin - The Cog-Zone

In this piece I imagined a massive machine. The piece presents the cogs in this machine all moving at different rates and in different ways. Although I imagined the cogs as always in motion, they are not always present  in the piece.

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