Panufnik Legacies III
Conductor François-Xavier Roth leads the London Symphony Orchestra on the third album in the Panufnik Legacies series. All of the composers featured on this recording are alumni of the LSO Discovery Panufnik Composers Scheme, which offers six composers each year the opportunity to write for a world-class symphony orchestra, guided by renowned composer Colin Matthews.
The Panufnik Legacies III contains world premiere recordings of compositions by Ayanna Witter-Johnson, Ewan Campbell, Cevanne Horrocks-Hopayian, Donghoon Shin, Alex Roth, Matthew Sergeant, Patrick Giguère, Sasha Siem, Bethan Morgan-Williams, Michael Taplin, Benjamin Ashby and Joanna Lee.
Bethan’s piece – Scoot (2015) – was recorded on 27 April 2019 at LSO St. Luke’s.
Datod at Concertini 10
Datod was commissioned by the Park Lane Group for a Robert Gerhard memorial concert at the Purcell Room (London) in May 2020. Unfortunately that event was cancelled due to the pandemic, but Musikfabrik members Hannah Weirich and Ulrich Löffler came to the rescue by programming the piece in the ensemble’s 2020 Concertini series. Due to the restrictions regarding audience numbers at the time, the concert was performed twice. The second performance made for a particularly convincing rendition, and you can access Daniel Seitz’s recording of that via the Soundcloud link below.
One, Two, Bakerloo…
Intended as an encore piece, this bagatelle is a minimalist collision of additive melody and metamorphosis techniques. The title is derived from an unfinished poem that’s featured in The Little Book of Mornington Crescent. It reads:
Nursery rhyme (sixteenth century) – unfinished:
One, two Bakerloo,
Bottom of the Ocean
Bottom of the Ocean is a short music video featuring stars, a sea spider, an octopus and a balloon. (Because, why not?)
Ben Goldscheider & Pete Stollery at Sound Festival 2020
A brilliant new audio-visual recording of In the Crypt, an interactive piece for horn & live electronics, is now available on Youtube. Realised by the marvellous Ben Goldscheider (horn) and Pete Stollery (electronics), this is a poignant performance of a ghosting piece. It stands out from any previous rendition because of the way in which it was put together. Due to Coronavirus restrictions, Ben was unable to travel to Aberdeen for the performance and so it was agreed that he would record his part in London and the electronics could then be overdubbed. This meant sacrificing the live manipulation of the horn but actually, it doesn’t feel like it’s missing anything… what do you think?
A Love Letter to Liverpool
A Love Letter to Liverpool was recorded by Jennifer Johnston (mezzo soprano) and Alisdair Hogarth (piano) in May 2019, and tells the story of Jennifer’s childhood and heritage against the backdrop of her home city. It features new arrangements of songs by ten composers that have a connection to Liverpool, including Bethan’s arrangement of Liverpool Lullaby.
Made famous by Cilla Black, Liverpool Lullaby has been through a series of transformations since being lifted from an early 19th-century folk song. The music that forms Robert Nunn’s Sandgate Dandling Song (composed ca. 1830) is the same music that Stan Kelly chose to base Liverpool Lullaby on (some 130 years later). In 1965, Liverpool Lullaby was recorded by Marian McKenzie (The Three City Four) and has since been covered by many musicians including Hughie Jones (The Spinners), Judy Collins, Val Doonican, the Ian Campbell Folk Group and of course, Cilla Black. Bethan’s arrangement uses Nunn’s melody and Kelly’s text, while presenting a new accompaniment that tempts the music into the classical realm. Described as “a haunted miniature music-drama” [Richard Bratby, Gramophone], the new arrangement provides yet another transformation of this deeply affecting song.