Simon Cox – Performance (Trumpet)
I am attempting to address this issue by producing a series of transcriptions for brass septet. During this process I aim to explore and incorporate methods of notating performance practices relevant to the works being transcribed in a manner suitable for brass instruments, for example the natural shape and phrasing which is inherent to choral music due to the text. Further work will be undertaken on the ‘intrinsic’ nature of the brass septet, and whether/how this can be activated in my arrangements.
Laurie Bamon – Composition
My work explores definitions and functions of musical texture with a particular focus on notions of “surface” and “aural perspective”. This has involved considering the qualities of what would normally be deemed foreground- or background-type materials, and then presenting these materials in ways that undermine traditional aural hierarchies. In my piece for large symphony orchestra, Silent Roads, it led to the fundamental structural idea for the piece: a gradual surface-change from isolated pitches to layered chords.
Ivor Bonnici – Composition
My project is based around four works, including one for violin solo, electro-acoustics and ensemble where sound is mixed from all sides of the concert hall. Combinations of timbral identities from different instrumental forces are combined with complex electronic sounds which are spatially distributed. The aim is to alter the perspective of sound, where the listener is immersed in sound and where the auditory journey can be approached from a multitude of angles.
Olivia Sham – Performance (Piano)
My interest led me to explore new ways of presenting virtuoso pianist-composer Franz Liszt’s solo piano music, using nineteenth-century instruments (eg, the Museum’s 1840 Érard grand piano) and an innovative approach to programme design in both my six-recital series and in my studio recording.
Rebecca Herman – Performance (Cello)
Holocaust music can be broadly defined as music written by Jewish composers interned in Nazi camps during the Second World War. But as a body of repertoire, what is its place, and significance, within a larger context of 20th century Modernism and the complex issues of national and cultural identity? As a cellist, my research aims to explore the way string players of Central and Eastern Europe would have performed music written in the 1920s to 1940s. My project focuses on interpretation and programming of this music from a performer’s perspective to enable a three dimensional picture of this wonderful repertoire