Jessica Grimes – clarinet
Zoe Matthews – viola
Charis Cheung – piano

Programme:
Märchenerzählungen Op.132 – Schumann
i. Lebhaft, nicht zu schnell
ii. Lebhaft und zehr markiert
iii. Ruhiges tempo, mit zartem ausdruck
iv. Lebhaft, zehr markiert
Hommage a R. Sch Op 15d – Kurtag
i. (Merkwurdige Piroutten des Kappelmeisters Johannes Kreisler)
ii. (E. [Eusubius]: der begrenzte Kreis)
iii. (…und wieder zuckt es schmerzlich F. [Florestan] um die Lippen)
iv. (Felho valék, már su¨t a nap…)
v. In der Nachtvi. Abschied (Meister Raro entdeckt Guillaume de Machaut)
New Work – Solfa Carlisle
‘Kegelstatt Trio’ KV 498 – W. A. Mozart
i. Andante
ii. Menuetto
iii. Rondeaux – Allegretto

£9/7 online, £10/8 on the door (incl tea/coffee)

http://www.examiner.ie/features/st-pauls-orchestral-role-is-music-to-solfas-ears-178420.html

Solfa has also been commissioned to write a work for the Orchestra of St.Paul’s March concert. Further details to follow.

Method in the madness: pre-compositional techniques in modern music
Solfa Carlile

In order to create a substantial work, a composer needs to employ some element of planning and structure in advance of the actual writing. This paper explores some methods of pre-compositional planning, utilised by contemporary composers in tonal, aleatoric and modal music, and investigates the effects of such internal, pre-compositional structures and forms on the intuitive dimension of composition.
In the case of tonal writing, certain rules are already in place, and a composer’s plans for the work are constrained by well-established musical doctrine. Contrastingly, in aleatoric music, the work becomes heavily informed by intuitive decisions made by the performers although a composer may use pre-compositional ideas to impose a degree of control over the eventual outcome.
In modal writing, the composer may employ a broad range of structural elements, from partial serial technique to sonata form, yet the harmonic ambiguity of the music creates a sense of structural looseness when writing intuitively.
In this paper, different levels of pre-compositional techniques are examined, from the initial translation of extra-musical influences into coherent musical concepts, to their eventual manifestation as organised musical parameters of rhythm, harmony and pitch. Drawing on examples from a range of styles, the paper investigates the importance of pre-composition to different musical genres, draws comparisons between pre-compositional techniques, and evaluates the tension between the constraints of planning and the necessity for compositional intuitive creativity.

23rd November 2011 – Kevin Barry Room, National Concert Hall ‘Wirewalk’ for Viola, ‘Cello and Piano.

7th January 2012 – Orchestra of St.Pauls, Covent Garden. New work ‘Vienna Vignettes’.

21st January 2012 – Aldworth Philharmonic Orchestra, Reading. ‘Sumer is icumen in’ Variations.

The piece was written especially for the duo and received its premiere in April 2010. Information on the concert and on Gabi and Genevieve is available here: http://www.concert-diary.com/concert/271908886/G-Project

The conference will be held at the American University in Rome (AUR).

Solfa has also completed a pro-bono lecture series, entitled ‘An Introduction to Classical Music’ at the Claremont Centre, Islington. She hopes to provide further lectures after December, on Music Theatre and Contemporary Classical Music.