The Philharmonia Orchestra's Composers' Academy is a scheme that gives three emerging composers the chance to work with composer Unsuk Chin, Artistic Director of our Music of Today series, alongside members of the Orchestra. The project culminates with a new composition by each composer, performed in concert as part of the Music of Today series. This year's recipients, Gareth Moorcraft, Lisa Illean and Donghoon Shin, will have their works performed tonight at 6pm.
In this blog post, each of the composers introduce their work.
Reflections (After Gibbons)
My new work Reflections takes inspiration from the Fantasias for viol consort by English composer Orlando Gibbons (1583-1625). I think of the piece as a kind of musical conversation which develops and distorts the sounds and materials of the originals, exploring how they can be re-imagined in new musical contexts. Fragments from Gibbons's works form the basis for five short movements, each of which focuses on a single musical element (lines, harmonic progressions, imitative devices and contrapuntal textures). The movements might be considered as miniature portraits or studies, each posing a new question and exploring Gibbons's materials from different perspectives.
Landscape and natural elements seem to deeply influence my mind, my memory and the way I put sounds together. My piece takes its title from Southern hemisphere summers, where elements often seem to share two states at once: where air is swollen with water, and where afternoons give way to steaming rain one sweats in. The sensation of this lingered with me as I composed. It coloured re-imaginings of earlier sketches of music written for the Philharmonia Orchestra (so much so, that I eventually titled the work Januaries).
The Hunter's Funeral for Ensemble
For a long time, I have been fascinated by different types of funeral march music in diverse cultures. What intrigues me is the irony in this specific genre - melody and harmony in minor keys express sorrow and remorse while a rhythmic feature repeats itself underneath, evoking slow dance music. For instance, in the third movement of Gustav Mahler’s Symphony No. 1, what starts as funeral music turns into a sarcastic dance. According to the Mahler scholar Constantin Floros, Moritz von Schwind’s woodcut ‘The Hunter’s Funeral’ (1890) was possibly the inspiration for this music.
The Hunter’s Funeral is my response to the same woodcut. It depicts animals carrying the coffin of a hunter in a solemn march. This paradoxical scene gave me a strong inspiration for the piece. It starts with a very simple and rather mundane pitch cell, C-D-E-F. The harmony structure and the melodies in the piece are all derived from the simple pitch cell, which gradually changes colour from bright to dark.
The music is divided into two movements with no gap in between. The first movement has a fast and rhythmic feature like dance music- groovy, sharp and energetic. The tempo of the dance music gets slower and a funeral march emerges in the second movement. Over the repetitive rhythm of the strings, the melodies in the woodwinds and the brass dominate the movement. In the final section, the melodies become heterophonic and eventually obsolete.