Well, quite a reasonable amount has changed since my last post! I am no longer living in Glasgow, I have moved to Surrey - south of London - where I will hopefully be continuing my education this year.
I have continued to compose works for the Rednote Ensemble, and have just finished two pieces for 3 violins, which I have submit for their concert on the 24th of May in Edinburgh's Traverse Theatre.
I have also recently completed a short piece for string orchestra, which will be entered for the Shipley Arts Festival Composers' Competition.
I - The first trio uses only 1 note (E) on three octaves (E3, E4, E5) and starts as a percussive piece. The chaos of the piece builds up then fades to become softer and less percussive, where the violins play over each other as Sul Ponticello, then fades back into percussion again.
II - The second trio sees the violins playing almost entirely in unison at Sul Ponticello, with the occasional "drift" into accompaniment by two violins, which quickly revert back to unison.
Piece for String Orchestra (220.127.116.11.1):
This short piece for string orchestra contains a short melody which is repeated and expanded by the different instruments, being accompanied intermittently by high-pitched violins, low tremolo double bass and cello, and strong tenuto notes from the violas. The piece is approximately 3:30 minutes, and remains consistently slow-paced and gentle, with occasional dissonant interruptions. This is unlikely to be the piece I actually submit for the Shipley Arts Festival Composers' Competition.
As well as these projects, I have also completed several personal projects;
Piece for Flute and Violin:
Inspired by Rodney Sharman's "Weissherbst" (available to stream at http://www.myspace.com/vanminens
), the piece was focussing on multiphonics and extended techniques for flute, accompanied in unison by violin, which fluctuates in tuning.
"Faces, Without Eyes, Watching":
Written for Saxophone and 'Cello, this piece has the characteristic of a sequenza for two instruments. Predominantly using extended techniques, the saxophone opens the piece with a long solo and is then accompanied by the 'cello. The 'cello acts as the accompaniment for the duration of the piece, but intermittently taking the lead.
The composition is based on a recurring nightmare, where white faces emerge from the darkness, staring at me with blacked-out eyes and gaping mouths. The piece itself incorporates a considerable amount of silence, as well as unexpected notes and dynamic changes to accurately reflect the mood and tension of the dream.