DANCE MAZE
Chamber Music by Tom Armstrong
Simon Desbruslais trumpet Jakob Fichert piano Nicola Meecham piano Audrey Riley cello James Woodrow electric guitar Fidelio Trio Dance Maze Chamber Music by Tom Armstrong
Simon Desbruslais trumpet 7 Morning Music (2012–15) Jakob Fichert piano 6–7 1. Limit [1:47] 1–3 2 .Trails [1:10] Nicola Meecham piano 3. Aubade [8:06] Audrey Riley cello 5 5 James Woodrow electric guitar 4. Diver ssements (2009) [11:12]
Fidelio Trio: 5. Diversions 3 (2015) [17:53] Darragh Morgan violin 4 & 8 Robin Michael cello 4 6. Dance Maze: Varia ons for Piano Mary Dullea piano 4 & 8 (1994, revised 2008, 2017) [12:05] 7. Dance Maze: Duos for Trumpet and Piano (2016–17) [19:37]
8. Akin (2008) [6:23]
Total playing me [78:18] Dance Maze: Chamber Music by encompasses self-quota on – such as Tom Armstong found frequently in Shostakovich’s output (a prac ce that can occasion as Revision and Re-working much debate as the existence of compe ng revisions) – and the recycling of extant All but one of the pieces on this recording pieces as part of new, larger works as sit on a con nuum bounded by revision exemplified by Handel, Bach and (less and re-working. Whilst some (Dance Maze: well-known) Lou Harrison.2 The change Varia ons for Piano, Diver ssements) of genre that o en accompanies recycling involve greater or lesser adjustments to (for example, Bach’s re-purposing of music an original version, others (Dance Maze: from a solo violin par ta as orchestral Duos for Trumpet and Piano, Diversions 3) music for a cantata Sinfonia) produces contain fundamental changes that transform co-exis ng versions that can sit less the way an earlier work sounds. controversially alongside each other than is o en the case with revisions. As the far end Revision is used here, then, to refer to a of the con nuum is approached the original process that produces a replacement of and its re-working become more dis nct from the original as part of an a empt at each other; changes are not wrought by improvement. An area of ambiguity recontextualisa on, as in recycling, but from immediately arises, though, in the within. Luciano Berio’s harmonic and mbral numerous cases where composers’ elabora on of Sequenza VI to create Chemins successive improvements have accrued II is a good example of such diversifica on; in different versions crea ng poten ally in no sense is the la er an improvement of tricky, even insurmountable, editorial the former, rather a recolouring, an decisions. Related to this are certain amplifica on and a filling out at the centre philosophical ques ons such as deciding of which the original viola solo remains when a work may have reached it’s final intact. Re-working was also a preoccupa on Tom Armstrong Photography: Francis Western version, whether the final version exceeds of Pierre Boulez but underpinned by processes its predecessors, and whether the of prolifera on rather than commentary ‘rightness’ of this version can ever be such that extreme differences in dura on proved.1 Moving across the con nuum, are found between both versions (see for the prac ce of self-borrowing is less example Dérive I and II – the la er also concerned with such ques ons; it subject to a process of revision). Towards the end of his life Boulez wrote ‘Replay’ is a severe compression of dovetailing between the first two of thinned slightly, and in 2017 when the that the principle of ‘open form’ could be ‘Aubade’ by means of which its character these during which angular rhythmic dynamic profile of several sec ons was used to symbolise his view of composi on is changed markedly; the brief, music gradually yields to more lyrical altered in order to diffuse the unrelen ng itself, that the “basic premise” of a piece concentrated ideas that make up both material. intensity of the earlier version. The could serve as a point of departure for pieces are now ar culated aggressively varia ons are based on a row of twenty “revisions, reevalua ons, reconsidera ons.” 3 and silences become interrup ve, not Of all the pieces on this recording, notes that is o en presented in a This no on of openness is one embraced containers for reverbera on. The Diversions 3 (2015) for electric guitar fragmented form; a good example of by many of the works on this recording satellite pieces are re-workings (rather with op onal addi ons (here, cello), this is the opening in which the first six but they also go further, with later versions than revisions) of ‘Aubade’, channelling probably travels the greatest distance notes of the theme gradually unfold in ac vely ques oning earlier ones by adop ng, the material of the original into discreet from its source – the electric guitar and the le hand alterna ng with short bursts for example, very different means of off-shoots instead of usurping it. harpsichord version of Diver ssements. of busier material. The theme is finally organisa on or nota on. In this way the Unlike the piano trio, Diversions 3 is a heard in full a er about two minutes, gap between the past and the present The piano trio, Diver ssements (2009), complete re-working that subs tutes a played in widely separated octaves found at any point on the revision/re-working is a revision originally composed as a new set of structural and aesthe c punctuated by staccato chords. Duos con nuum remains palpable and, it is hoped, replacement for its forebear but, at the priori es: in place of organic growth, for Trumpet and Piano re-works sets up a produc ve and expressive tension. me of wri ng, that version is also wholeness and seamlessness are found Varia ons for Piano in two ways: firstly, undergoing revision – there is always a a list-like structure in which the diverse the con nuous sequence of varia ons The Music danger of musically ‘pain ng the Forth material of the piece is presented on single is broken into discreet sec ons which can Bridge’ when revising works! The choice pages that are never returned to and be re-connected in any order by the The solo piano collec on, Morning Music of piano trio represents a complete between which performers need to devise performers; secondly, the trumpet part (2012–15), consists of three short ‘satellite’ change of medium from the original their own approach to con nuity. The form gra s on material derived from a completely pieces (‘Limit’, ‘Trails’ and ‘Replay’) orbi ng line-up of electric guitar and harpsichord. is open to a degree; performers can begin different source – melodic techniques and a longer one, ‘Aubade’. The la er was This reversion to a venerable chamber on any page and include as many or as few pa erns from the book, Self-Similar Melodies, composed first as a standalone piece, music ensemble reveals the mo va on of the ensuing pages as they like. by Tom Johnson (a composer I had not then ‘Limit’ and ‘Trails’ were added in behind the revision, that the rather heard of when I wrote Varia ons for 2014. These pieces present different tradi onal texture and aesthe c of the Dance Maze, like Morning Music, is a Piano). Such a procedure is far from readings of the sequence of six-note piece seemed ill-suited to the original collec on but on a much larger scale unprecedented in Western art music and chords that runs through the original: instrumenta on. The revision process also encompassing revision and re-working. may be traced back at least as far as the ‘Limit’ presents just the uppermost note afforded the opportunity for trimming Varia ons for Piano cons tutes the Medieval motet with its superimposi on of each chord as a gradually expanding dimensions and finessing transi ons original and has been subject to two of secular texts (o en French) over La n monody, whilst ‘Trails’ breaks the chords between the three diver men that phases of revision – in 2008 during which chants. An example of this approach into ever-changing pa erns sca ered cons tute the form of the piece, for the many changes of meter were associated with the revision process is across the keyboard. Wri en in 2015, example there is now a pronounced ra onalised and the piano textures furnished by Karlheinz Stockhausen’s Klavierstück V in which the revised version Fracture from the album Starless and of the piece became a background on Bible Black by King Crimson. Akin is a which new material was superimposed – homage to the experience of first hearing grace note groups derived from an Fracture, in par cular its opening passage unrelated twelve-tone row. By means of of whole tone music, and to the excitement a similar ‘alien’ source the trumpet part of discovering King Crimson’s par cular in Duos assumes a level of autonomy strain of progressive rock with its emphasised by the possibility of extrac ng connec ons to twen eth-century the part to form the self-contained piece, classical music. In re-working the original Solos for Trumpet. This re-working of Duos its propor ons are retained but within challenges its spa al integrity by prising smaller dimensions. Although the apart the two instrumental components. harmonic materials are new the music In turn, both re-workings challenge the of the original is clearly alluded to temporal integrity of Varia ons through throughout, from the whole tone ‘exploding’ its fixed form. These re-workings beginning, to the central interlude in Darragh Morgan Mary Dullea Photography: Frances Marshall Photography: Sophie Dennehy share with Diversions 3 a cri cal a tude tenths, to the frene c rising sequences to their predecessors whereby rather that dominate the closing minutes of conven onal no ons of musical form and the track. It is only the very ending that structure – organicism, seamlessness, contradicts the source; whereas Fracture tension and release – are confronted with ends with a passage of typical rock the openness, fragmenta on and stasis grandiosity, Akin simply evaporates. that characterise experimental/avant-garde methods of construc on. © 2018 Tom Armstrong
Akin (2008) is, in some respects, an outlier on this recording. Revisions have been minimal and represent no challenge to 1. Bruce Ellis Benson, The Improvisa on of Musical Dialogue: the original version. However, if revision A Phenomenology of Music (Cambridge University Press, 2003) and re-working are seen as forms of 2. Leta Miller, “Lou Harrison and the Aesthe cs of Revision, (self-)borrowing then the piece does Altera on and Self-Borrowing,” twen eth-century music 2, Jakob Fichert have connec ons with the preceding no. 1 (2005) Robin Michael Photography: Tomasz Kwiatkowski music because its form and propor ons 3. Pierre Boulez, “… ‘ouvert’, encore…,” Contemporary Photography: Resonus Limited are based on those of a pre-exis ng piece – Music Review 26, nos 3–4 (2007) for NMC, Delphian, Altarus, Divine Art, given numerous master classes for music Naxos, Orange Mountain, Resonus and specialist schools, conservatoires and MN Records. Concerto appearances universi es in the UK, China and Mexico. He works as an examiner for the ABRSM, include RTÉ Concert Orchestra, KZN teaches the piano at the Universi es of Philharmonic Orchestra and a BBC York and Hull and holds the posi on of commission with Lontano. From 2008 to Principal Lecturer in Piano at Leeds 2016 Mary curated ‘Soundings’ in College of Music. collabora on with the Austrian Cultural Forum, London. She is the pianist in www.jakobfichert.com The Fidelio Trio and is the founder and Ar s c Director of ‘Chamber Music on Nicola Meecham (piano) Valen a’, an annual Fes val held in With her playing described as ‘sensa onal’ August. Mary has been Director of (Gramophone), Bri sh pianist Nicola Performance at Royal Holloway, Meecham has performed interna onally, Audrey Riley James Woodrow University of London since 2015. throughout the UK and at major venues, Photography: Laura Evans Photography: Katja Kulenkampff including theWigmore Hall, St John’s Smith www.marydullea.com Square, and the Queen Elizabeth Hall. A Simon Desbruslais (trumpet) Orchestra of Wales, Orchestra of the Swan, Simon Desbruslais is a trumpet soloist, Charivari Agréable, Brook Street Band, and Jakob Fichert (piano) prizewinner at the Royal Academy of whose performances have been cri cally Ensemble Diderot. He is a Lecturer in Music Jakob Fichert is a pianist with an Music, Nicola has given broadcast recitals acclaimed as ‘steel-lipped’ and possessing at the University of Hull, where he is also interna onal profile. He regularly for BBC Radio 3 and Dutch Radio and has ‘supreme confidence and flair’. Equally Director of Performance. performs in pres gious venues and given premieres by interna onally ac ve in Baroque and contemporary music, fes vals and has recorded for Naxos renowned composers, including Henyrk Simon has recorded extensively for www.simondesbruslais.com and Toccata Classics to great cri cal Górecki and Heinz Karl Gruber. Her Signum Classics including, most recently, acclaim both as a soloist and recordings for SOMM include albums of The Art of Dancing and Psalm: Bri sh Mary Dullea (piano) collabora ng ar st. His concerts have piano sonatas by Tchaikovsky and a recital Trumpet Concertos. As soloist and chamber musician, Irish taken him all over the world. On of music by Enescu, Janáček and Kodály, pianist Mary Dullea has built an impressive numerous occasions he has played in both of which received outstanding Simon has given concerto performances reputa on as a performer and commissioner China, most recently in Tianjin, Beijing reviews in the interna onal press. in China and Brazil, and has appeared as a of new music, performing interna onally. and Jilin. soloist with the Royal Northern Sinfonia, She broadcasts regularly for BBC Radio 3 www.nicolameecham.co.uk English Symphony Orchestra, BBC Na onal and RTÉ Lyric FM. She appears on recordings Much in demand as a pedagogue, Jakob has
Robin Michael (cello) Les Siècles and performed chamber music Robin Michael studied at the Royal Academy with Bang On a Can All Stars, Smith of Music with David Strange and Colin Carr Quartet, Thomas Adès, Emmanuel Pahud and later with Ferenc Rados. He is principal and John Tilbury. Solo appearances include cellist in Orchestre Revolu onnaire et Vienna Konzerthaus, the Wigmore Hall, Roman que, Solo cellist with Orchestre Shanghai Oriental Arts Center, Seoul Arts Les Siecles (Paris) as well as regular guest Center, and he has recorded over fi y principal cellist with the Australian albums including Donnacha Dennehy’s Chamber Orchestra, Sco sh Chamber Violin Concerto Elas c Harmonic with Orchestra, BBC Na onal Orchestra of RTÉ Na onal Symphony Orchestra and Wales, Royal Northern Sinfonia, Irish recently Gerald Barry Chamber Music Chamber Orchestra, Bri en Sinfonia, for Mode Records. Darragh plays an RTÉ Concert Orchestra, English Baroque 1848 Giuseppe Rocca violin, generously Soloists, English Na onal Opera and on loan from the Morgan-Rocca Instrument Orchestra of the Age of Enlightenment. Trust which is administered by The Royal Simon Desbruslais Society of Musicians and a bow by Photography: Rob Lonsdale Robin was the cellist in the Fidelio trio Joseph Alfred Lamy. for over 10 years with whom he toured Europe, North America, Asia and South www.darraghmorgan.com Africa. He has also appeared in collabora on with the Dante and Eroica quartets. Audrey Riley (cello) Acknowledgements: Audrey Riley studied at the Guildhall www.robinmichael.co.uk School Of Music with Leonard Stehn. As The Department of Music and Media, an arranger and improvising cellist she University of Surrey, for use of Darragh Morgan (violin) has contributed to many rock and their recording facili es. Irish violinist Darragh Morgan has pop recordings. collaborated closely with renowned This recording is dedicated to the memory composers Arvo Pärt, Philip Glass, Steve Between 2001 and 2011 she toured with of Michael Armstrong (1934–2016); Reich, Michael Nyman, Michael Finnissy the Merce Cunningham Dance Company his musical curiosity, taste, erudi on and Kevin Volans. He is a founder member and con nues to perform BIPED. She is and embrace of the modern in music of The Fidelio Trio and has o en appeared inves ga ng the performance prac ces provoked my interest in, and nourished as Leader of the London Sinfonie a, of the composer/musicians of the Nicola Meecham my commitment to, the art Ensemble Modern, Musik Fabrik and Merce Cunningham Dance Company, Photography: Fritz Curzon of musical composi on.
More titles from Resonus Classics with a special emphasis on the works James also plays with a number of jazz of John Cage, as part of a PhD at De ensembles, including his own quartet Winter Fragments: Chamber Music by Mon ort University. CandyTime with whom he has recorded Michael Berkeley two albums. Fleur Barron (mezzo-soprano), Berkeley Ensemble She has been a member of contemporary & Dominic Grier (conductor) music group Icebreaker since 1989, and Tom Armstrong RES10223 it’s Music Director since 2009, and teaches Tom Armstrong studied composi on with ‘[...] an attractive disc [...] Barron compels [...] in Composi on & Arranging, and Advanced George Nicholson and Roger Marsh. He read the seven Winter Fragments’ Ensemble Skills (BMus and MMus) at music at York University, comple ng a PhD The Sunday Times ICMP, and cello at Goldsmiths. in composi on in 1994. He has also studied at Dar ngton Summer School, the Bri en- www.audreyriley.com Pears School and on the renowned Thomas Hyde: That Man Stephen Ward Interna onal Course for Professional Damian Thantrey (baritone), Nova Music James Woodrow (electric guitar) Choreographers and Composers. Tom has Opera Ensemble & George Vass (conductor) James Woodrow gives regular performances received commissions for orchestral, chamber RES10197 as soloist and ensemble player with the and vocal music, amateur musicians and London Chamber Symphony, Birmingham dance. In addi onal to the ar sts on this ‘Damian Thantrey gives a powerhouse Contemporary Music Group, London disc his music has been performed by performance as Ward’ Sinfonie a, BBC Symphony Orchestra, Notes Inégales, Gemini, the New Music Gramophone the BBC Singers and The New London Players, Psappha, the Delta Saxophone Chamber Choir, and is a member of the Quartet, the BBC Philharmonic and the Gavin Bryars Ensemble and Icebreaker. Feinstein Ensemble. His music has been heard across the UK in venues such as © 2018 Resonus Limited He has worked with a number of Kings Place, the Wigmore Hall, the è 2018 Resonus Limited contemporary dance companies, Southbank Centre and the Lowry and Recorded in Studio One, PATS Building, University of Surrey on 22 December 2011 (Divertissements), including Richard Alston, London performed in Europe and China. Tom is a 25 September 2014 (Morning Music), 19 June 2017 (Akin) & 20 December 2017 (Diversions 3 & Dance Maze) Producers: Matt Buchanan & Tom Armstrong Contemporary Dance, Rambert, Phoenix Senior Lecturer in Music at the University Engineer & Editor: Dave Rowell Dance Company, Siobhan Davies, of Surrey. Assistant: Craig Jenkins (2011 sessions) Shobana Jeyasingh, Royal Ballet and Executive producer: Adam Binks Sco sh Ballet and, from 1999 un l its www.tomarmstrongcomposer.com Cover image by Manuchi (pixabay.com) close in December 2011, the Merce RESONUS LIMITED – UK Cunningham Dance Company. [email protected] www.resonusclassics.com RES10230