DANCE MAZE

Chamber Music by Tom Armstrong

Simon Desbruslais trumpet Jakob Fichert piano Nicola Meecham piano 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. Diverssements (2009) [11:12]

Fidelio Trio: 5. Diversions 3 (2015) [17:53] Darragh Morgan violin 4 & 8 Robin Michael cello 4 6. Dance Maze: Variaons 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-quotaon – such as Tom Armstong found frequently in Shostakovich’s output (a pracce that can occasion as Revision and Re-working much debate as the existence of compeng 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 connuum bounded by revision exemplified by Handel, Bach and (less and re-working. Whilst some (Dance Maze: well-known) Lou Harrison.2 The change Variaons for Piano, Diverssements) of genre that oen 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 parta as orchestral Duos for Trumpet and Piano, Diversions 3) music for a cantata Sinfonia) produces contain fundamental changes that transform co-exisng versions that can sit less the way an earlier work sounds. controversially alongside each other than is oen the case with revisions. As the far end Revision is used here, then, to refer to a of the connuum is approached the original process that produces a replacement of and its re-working become more disnct from the original as part of an aempt at each other; changes are not wrought by improvement. An area of ambiguity recontextualisaon, as in recycling, but from immediately arises, though, in the within. Luciano Berio’s harmonic and mbral numerous cases where composers’ elaboraon of Sequenza VI to create Chemins successive improvements have accrued II is a good example of such diversificaon; in different versions creang potenally in no sense is the laer an improvement of tricky, even insurmountable, editorial the former, rather a recolouring, an decisions. Related to this are certain amplificaon and a filling out at the centre philosophical quesons 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 preoccupaon Tom Armstrong Photography: Francis Western version, whether the final version exceeds of Pierre Boulez but underpinned by processes its predecessors, and whether the of proliferaon rather than commentary ‘rightness’ of this version can ever be such that extreme differences in duraon proved.1 Moving across the connuum, are found between both versions (see for the pracce of self-borrowing is less example Dérive I and II – the laer also concerned with such quesons; 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 secons was used to symbolise his view of composion is changed markedly; the brief, music gradually yields to more lyrical altered in order to diffuse the unrelenng 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 arculated aggressively variaons are based on a row of twenty “revisions, reevaluaons, reconsideraons.” 3 and silences become interrupve, not Of all the pieces on this recording, notes that is oen presented in a This noon of openness is one embraced containers for reverberaon. 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 oponal addions (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 acvely quesoning earlier ones by adopng, the material of the original into discreet from its source – the electric guitar and the le hand alternang with short bursts for example, very different means of off-shoots instead of usurping it. harpsichord version of Diverssements. of busier material. The theme is finally organisaon or notaon. In this way the Unlike the piano trio, Diversions 3 is a heard in full aer about two minutes, gap between the past and the present The piano trio, Diverssements (2009), complete re-working that substutes 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 aesthec punctuated by staccato chords. Duos connuum remains palpable and, it is hoped, replacement for its forebear but, at the priories: in place of organic growth, for Trumpet and Piano re-works sets up a producve and expressive tension. me of wring, that version is also wholeness and seamlessness are found Variaons for Piano in two ways: firstly, undergoing revision – there is always a a list-like structure in which the diverse the connuous sequence of variaons The Music danger of musically ‘painng the Forth material of the piece is presented on single is broken into discreet secons 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 collecon, 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 connuity. The form gras on material derived from a completely pieces (‘Limit’, ‘Trails’ and ‘Replay’) orbing 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 laer was This reversion to a venerable chamber on any page and include as many or as few paerns from the book, Self-Similar Melodies, composed first as a standalone piece, music ensemble reveals the movaon 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 Variaons for 2014. These pieces present different tradional texture and aesthec 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 collecon but on a much larger scale unprecedented in Western art music and chords that runs through the original: instrumentaon. 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 Variaons for Piano constutes the Medieval motet with its superimposion of each chord as a gradually expanding dimensions and finessing transions original and has been subject to two of secular texts (oen French) over Lan monody, whilst ‘Trails’ breaks the chords between the three divermen that phases of revision – in 2008 during which chants. An example of this approach into ever-changing paerns scaered constute the form of the piece, for the many changes of meter were associated with the revision process is across the keyboard. Wrien in 2015, example there is now a pronounced raonalised and the piano textures furnished by ’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 parcular 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 parcular in Duos assumes a level of autonomy strain of progressive rock with its emphasised by the possibility of extracng connecons to tweneth-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 proporons are retained but within challenges its spaal 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 Variaons 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 crical atude tenths, to the frenec rising sequences to their predecessors whereby rather that dominate the closing minutes of convenonal noons 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, fragmentaon and stasis grandiosity, Akin simply evaporates. that characterise experimental/avant-garde methods of construcon. © 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 Improvisaon 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 Aesthecs of Revision, (self-)borrowing then the piece does Alteraon and Self-Borrowing,” tweneth-century music 2, Jakob Fichert have connecons with the preceding no. 1 (2005) Robin Michael Photography: Tomasz Kwiatkowski music because its form and proporons 3. Pierre Boulez, “… ‘ouvert’, encore…,” Contemporary Photography: Resonus Limited are based on those of a pre-exisng 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 universies in the UK, China and Mexico. He works as an examiner for the ABRSM, include RTÉ Concert Orchestra, KZN teaches the piano at the Universies of Philharmonic Orchestra and a BBC York and Hull and holds the posion of commission with Lontano. From 2008 to Principal Lecturer in Piano at Leeds 2016 Mary curated ‘Soundings’ in College of Music. collaboraon with the Austrian Cultural Forum, London. She is the pianist in www.jakobfichert.com The Fidelio Trio and is the founder and Arsc Director of ‘Chamber Music on Nicola Meecham (piano) Valena’, an annual Fesval held in With her playing described as ‘sensaonal’ August. Mary has been Director of (Gramophone), Brish pianist Nicola Performance at Royal Holloway, Meecham has performed internaonally, 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 crically 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 internaonal profile. He regularly for BBC Radio 3 and Dutch Radio and has ‘supreme confidence and flair’. Equally Director of Performance. performs in presgious venues and given premieres by internaonally acve in Baroque and contemporary music, fesvals and has recorded for Naxos renowned composers, including Henyrk Simon has recorded extensively for www.simondesbruslais.com and Toccata Classics to great crical 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: Brish Mary Dullea (piano) collaborang arst. 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 reputaon as a performer and commissioner China, most recently in Tianjin, Beijing reviews in the internaonal press. in China and Brazil, and has appeared as a of new music, performing internaonally. and Jilin. soloist with the Royal Northern Sinfonia, She broadcasts regularly for BBC Radio 3 www.nicolameecham.co.uk English Symphony Orchestra, BBC Naonal 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 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 Revoluonnaire et Konzerthaus, the Wigmore Hall, Romanque, Solo cellist with Orchestre Shanghai Oriental Arts Center, Seoul Arts Les Siecles (Paris) as well as regular guest Center, and he has recorded over fiy principal cellist with the Australian albums including Donnacha Dennehy’s Chamber Orchestra, Scosh Chamber Violin Concerto Elasc Harmonic with Orchestra, BBC Naonal Orchestra of RTÉ Naonal Symphony Orchestra and Wales, Royal Northern Sinfonia, Irish recently Gerald Barry Chamber Music Chamber Orchestra, Brien Sinfonia, for Mode Records. Darragh plays an RTÉ Concert Orchestra, English Baroque 1848 Giuseppe Rocca violin, generously Soloists, English Naonal 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 collaboraon 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 facilies. 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, erudion and Kevin Volans. He is a founder member and connues to perform BIPED. She is and embrace of the modern in music of The Fidelio Trio and has oen appeared invesgang the performance pracces provoked my interest in, and nourished as Leader of the London Sinfoniea, of the composer/musicians of the Nicola Meecham my commitment to, the art , Musik Fabrik and Merce Cunningham Dance Company, Photography: Fritz Curzon of musical composion.

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 Monort 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 composion with ‘[...] an attractive disc [...] Barron compels [...] in Composion & Arranging, and Advanced George Nicholson and Roger Marsh. He read the seven Winter Fragments’ Ensemble Skills (BMus and MMus) at music at York University, compleng a PhD The Sunday Times ICMP, and cello at Goldsmiths. in composion in 1994. He has also studied at Darngton Summer School, the Brien- www.audreyriley.com Pears School and on the renowned Thomas Hyde: That Man Stephen Ward Internaonal 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 addional to the arsts on this ‘Damian Thantrey gives a powerhouse Contemporary Music Group, London disc his music has been performed by performance as Ward’ Sinfoniea, 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, , of Surrey. Assistant: Craig Jenkins (2011 sessions) Shobana Jeyasingh, Royal Ballet and Executive producer: Adam Binks Scosh Ballet and, from 1999 unl 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