Cyclops’ Cave
For Symphony Orchestra
In the summer of 2004 I went on holiday to Cyprus. During my time there I took part in a scuba diving course, where I studied the theory of diving and discovered many different diving locations. One of the spots we visited was called Cyclops’ Cave, which is a very long cave where you can find many different varieties of life form. The piece translates into music my underwater experience, which at times was terrifying but also intriguing.
The starting point for the piece was actually a graphic drawing, which helped the composition process. There are certain sections of the music that are quite literal. For example, the opening is the initial plunge into the water, which at times can be dramatic. Then, the calm after the storm is echoed with strings and horns. The percussion section is the backbone of the piece, which drives the music forward. There are several occasions where the percussion section shows off its virtuosity, which was important for me, as I have never written for percussion before writing this piece.
Towards the end of the piece, the brass and timpani help create a menacing feeling, which is emphasised by a crescendo at every bar. The second time this theme returns, the horns play triplets over the trombones and tuba, creating a thicker texture. Finally, the strings and woodwind join this frantic struggle between the sections of the orchestra. The piece ends more or less how it began. Strings and horns help set the mood with the trumpet and vibraphone echoing the main motif from the beginning. There is a sudden outburst, which results in the whole orchestra increasing in dynamic to a final climax, which ends in a perfect cadence – a complete surprise.
Reverie
The dictionary definition of the word Reverie is “a state of idle and pleasant contemplation”. The flute begins with a melancholy solo with each phrase extending and developing, interspersed with “sighs”.
As soon as the piano enters this sets the piece in motion. The piano’s two -note accompaniment is reminiscent of the “sighs” heard in the flute solo, which creates a dark and sinister harmony. In the middle section, the music is more playful, with the piano taking a more dominant role. Within this section there is also variety in time signature changes, which creates a natural rhythmic flow. When we arrive at the final section the mood changes and instead of evoking images of pleasant contemplation, the piano evokes quite the opposite. The piece ends with an echo of the beginning; this time with the flute playing into the piano while the pedal is held down, to create a haunting echo.
This piece was premiered at a student composers’ concert at the Royal Welsh College of Music and Drama in March 2006. This piece has also been performed by international artists Philippa Davies (Flute), and Jan Willem Nelleke (piano) at the Aberystwyth International Music Festival and Summer School, in July 2006.
Block 10
This piece was inspired after visiting Auschwitz in January 2006. The title Block 10 refers to the block in Auschwitz where medical experimentation took place.
The German physicians who ran these medical institutions, along with medical personnel at lower levels, participated actively in carrying out Nazi extermination plans. These physicians assigned to the concentration camps, including Auschwitz, played a special role. They conducted criminal medical experiments on prisoners and committed other acts that violated medical ethics. Having furthered the experimentation programme in the concentration camps, they have gone down in history as medical criminals.
The piece consists of five movements, each of which reflects a different image and atmosphere. Each movement uses a different mode, which is made up of five pitches.
The previous four movements are very short and all of them are dark in character, but each still has its own individual quality. The fifth and final movement is longer in comparison because it is a combination of the material from previous four, which gradually gets taken over by sustained open chords played by the piano. Towards the end the whole ensemble join in until the chords eventually fade away.
This piece was premiered by the PM Ensemble at a student workshop, held at the Royal Welsh College of Music and Drama.
Saxophone Quartet No.1 – 2nd movement
The second movement is very slow and lethargic in character. The soprano sax takes the main tune while being accompanied by the alto, tenor, and baritone. This then turns into a duet between the soprano and alto sax. The middle section is very fugal with every line weaving in and out of each other’s until the main theme returns.
This piece was premiered by the Lunar Saxophone Quartet at the Royal Welsh College of Music and Drama, December 2006.
Samba Capriccioso
Samba Capriccioso was composed in rondo form and was the first piece where I experimented with bi-tonality. The harmony moves in cycles of fifths and eventually returns to the original key. I wanted to experiment with the Samba style and to experiment with the harmony and the traditional cowbell rhythm. Writing for one piano is one thing, but writing for two pianos is a real challenge because the range of the piano is so extensive that you have to really think about the balance.
This is a lively, energetic piece that explores new harmonic ideas and syncopated rhythms, but most of all is fun to play. This piece was first performed at the Abertawe Festival for Young Musicians.
Lord of the Flies