A Tribute to Lucy Hale (6pm)

Lucy Hale:

The Trojan Women (2020)
i. Hebuca 
ii. Cassandra
iii. Andromache
iv. Polyxena
Hoda Jahanpour, Nathan Jackson-Turner cellos

Knitting History (2016)
Leila Chrisp voice
Angela Shao percussion

Little Did I Know Then (2016)
Nika Novak guitar

Frost and Roots (2017)
Zoe MacNamee harp

Thanks for stopping. Some of them round here are dodge. (2018)
James Holt baritone
Ethan Gillespie piano

Alter Egos (2015)
Nathan Holroyd saxophone

Programme notes:

The Trojan Women for solo cello (2020)

The Trojan Women was originally titled Warnings, Falling On Ears That Refused To Hear. It originally consisted of three movements; movements 1,2 and 4 of what is now The Trojan Women. Movement 3 was newly composed for a revised suite that’s now called The Trojan Women.

The piece explores the frustration of trying to enact change in a society which is often hostile to such change. The work consists of three miniatures, reflecting the pain and anger of the activist who is unable to make others listen to their arguments, the tirelessness of individuals such as Alf Morris who challenge those around them to change, and the danger that we have failed to learn from his, and others’ work and are thus ‘sliding backwards’ in those areas where they had sought to improve people’s lives.

Note by Lucy Hale.

Knitting History for female voice and percussion (2016)

Words by Bernadette Cullen.

It clicks,
the clack
into pattern insistent rhythm,
placing mother
where she’s from,
Handed down from,
She is the click
my mother,
she is the clack,
the rhythm,
the pattern.
Our pattern,
secret detail. From
her rhythm
to my, click-click-clack
Mother’s mother
to dead mother.
Old patterns
where I clack
my from
’till I click
with rhythm.
Holy rhythm,
our mothers
slip-one clicked
in Patons’
2 ply, from
first clack
Warm rhythm
bone knits, from

Knitting History was premiered on 25 April 2016 by Rachel Abbott and Aidan Marsden.

Little Did I Know Then for solo guitar (2016)

Little Did I Know Then is a calm and reflective work for solo guitar. The intention of the work was to explore the guitar’s resonant qualities. The piece is based on four main types of material; employing percussive techniques, chordal figures and two different melodic ideas. These are slowly developed and juxtaposed against each other throughout the work, though there is a general trajectory from more prominent percussive and melodic writing towards something more chordal. By the end of the work the melodic writing and use of percussion techniques is abandoned and the chords are all that remain. The piece’s reflective nature gave rise to the title, Little Did I Know Then, evoking the idea of reflection upon, and nostalgia for, a time of freedom from the burden of unpleasant knowledge and understanding. Similarly, the exploration of the guitar’s resonant qualities is intended to create a sense of distance and echoes, as if the music is being heard from that past time of freedom. The work’s brief louder section is reflective of frustration surrounding the impossibility of truly returning to the remembered state of freedom and the necessity of now living with the unwanted knowledge, before the quieter closing passage signifies acceptance of the present.

Note by Lucy Hale.

Frost and Roots for solo harp (2017)

Frost and Roots attempts to demonstrate aspects of the harp which are rarely exploited. It is concerned with exploring the extremes of the harp’s range and is comprised of two main ideas. Deep and elemental chords represent the titular roots and are contrasted with high, cold melodic writing which portrays the frost.

Note by Lucy Hale.

This piece was commissioned for the RNCM Paul Patterson Focus and premiered by Alice Roberts on 9 June 2017 in the RNCM’s Carole Nash Recital Room, where it is being performed here again today.

Thanks for stopping. Some of them round here are dodge. for baritone and piano (2018)

This work depicts a conversation between Jasmine (the baritone), and an unnamed stranger to whom she is speaking (the piano). It was premiered at the RNCM in April 2018 by Patrick Relph and Brian Low. There is bracketed text above the piano part indicating the stranger’s half of the conversation. It is not intended to be spoken, but is included as a ‘performance direction’ for the pianist.

Note by Lucy Hale.

Words by Andy Owen Cook

How d’you get to the concrete convention?
You think there’d be a sign.
I’ve been up and up and down New Street,
I’ve a talk at three!
The address is here
In one of my portals
Do you know James?
James hates me.
I had an accident
At twenny seventeen,
I thought that I was at the blood bank:
slashed my wrists with a plastic knife
Said, ‘Now’s your chance!’
Maybe James banned me.
Ha ha he ha ha ha ha ha.
I am laughing at something I thought of,
Not what you said.
Whassthat? You’ve gotta speak
up. I’m tired. The voices get louder
when I’m tired. The trick’s to take
each day like that lad,
“I want one more, please thanks sir”.
Yes, it’s nice to meet you.
I’m Jasmine.
I built a bridge that joins eight towns,
They’re tryin’ to knock my octopus down.
That’s why the talk’s a vigil, see
At the concrete convention, at three.

Alter Egos for saxophone and electronics (2015)

The intention for this piece was for it to sound like an argument between the live saxophone and the electronic track, the material for which is made up of pre-recorded fragments and effects played on the saxophone. The piece follows a rough arch shape with a generally calm opening until around bar 35 where energy begins to build before peaking between bars 52 and 74. This section is characterised by fast material at the extremities of the saxophone’s range alongside a much thicker texture in the electronic part. From bar 75 the piece begins to calm down with gradually decreasing use of electronics and less conflict between the two parts. By bar 107, the electronics are no longer used as the live part has ‘won the argument’.

Note by Lucy Hale.