This monthly update from CMC’s library features some of the works added to its collection. During August, works from 11 different composers were added to the CMC online library catalogue. These include solo instrumental, ensemble, electro-acoustic, vocal, choral and orchestral works. Selected works include:
Derek Ball (1949-) Night
“Night is, as faithfully as I can manage it, the musical and dramatic realisation of a very vivid dream. At the time of writing I’m happily married and my wife is very much alive. Not so in this dream. No amateur psychoanalysis please!”
Hugh Martin Boyle (1984-) Sing no More
Premiered by New Dublin Voices, conductor Bernie Sherlock on 12 July 2014 at Conversations II, St. Anne’s Church, Dawson St, Dublin.
Listen to this work on the Irish Composers’ Collective SoundCloud page here
David Byers (1947-) Strange Hells
Premiered by David McCann (vc), Ulster Youth Choir, conductor Greg Beardsell on 8 August 2014 at St. Anne’s Cathedral, Belfast, Northern Ireland.
Strange Hells was commissioned by the Ulster Youth Choir for a concert marking the centenary of the outbreak of World War I.
“I’ve chosen three poems by soldiers who experienced the dreadful realities of war, serving in the trenches. Each poet offered a revealing and unexpectedly different perspective.”
“Since classical rhetoric, the four fundamental rhetorical operations, which still today serve to encompass the various figures of speech, have been: addition (adiectio), omission (detractio), permutation (immutatio) and transposition (transmutatio). Originally these were called, in Latin, the four operations of quadripartita ratio.”
Paul Hayes (1951-) Lost in Carnaween
Premiered by Satoko Inoue (pf) on 23 July 2014 at Earagail Arts Festival, Regional Cultural Centre, Letterkenny, Co. Donegal.
Seamus Heaney: Sonnet X.
Francis Heery (1980-) 234 Dots for Floom
Premiered by Siobhán Mannion, Mary O’Brien and Dorone Paris (voices) on 12 July 2014 at Music Circus on The Great Book of Ireland, Glucksman Gallery, University College Cork.
“Skimming Stones is a setting of the poem by the same name by UK poet and priest, Ian Adams. In addition to the music serving as a vehicle for the words, there are two background ideas added to the choral texture. One uses the words ‘fly, bob’ to illustrate the incongruity of a stone’s flight and bounce, while the other refers to the four groups of mysteries of the rosary (glorious, joyful, sorrowful and luminous).”