Central Composers Alliance Blog - Rosemary Duxbury http://www.composersalliance.com/ Founded in 1995, the Central Composers Alliance, whose Patron is Sir Richard Rodney Bennett, was formed to promote the works of members of the Composers Guild of Great Britain who are resident in, or have close connections with, Central England. Rosemary Duxbury Composers Classical Music Rosemary Duxbury http://www.composersalliance.com/images/shops/165.jpg http://www.composersalliance.com/composers/index.cfm?composer=165 Rosemary Duxbury 'The Seagull' motif - Rosemary Duxbury http://www.composersalliance.com/composers/blog.cfm?blog=34 <p>&nbsp;</p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; ">In 2012 I was ready to put together a recording of my latest piano compositions featuring the&nbsp;<em>Mirrors of Light</em>&nbsp;pieces alongside other new piano works.&nbsp;The CD was recorded at the award winning studio, Potton Hall in Suffolk, England. The day after recording was finished, we took a trip to Southwold on the Suffolk coast and this is where I captured the photograph of the seagull flying into the sunlight which was chosen for the CD cover.</p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; ">&nbsp;</p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; ">Looking at the photograph I became very aware that &acute;The Seagull&acute; represented the journey of this whole project.</p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; ">&nbsp;</p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; ">The motif of &acute;The Seagull&acute; originally emerged when I was invited to be part of an exciting new artistic collaboration in Germany working alongside German ballet dancer Oliver Essigmann and British photographer Annette Horn. Swiss pianist Patricia Siffert was invited to perform a recital of my music with these artists in October 2011, and we decided to call the whole evening&nbsp;<em>Mirrors of Light</em>&nbsp;as it would also be a showcase for the &acute;World Premiere&acute; of the piano piece,&nbsp;<em>Mirrors of Light 2</em>. Oliver choreographed a new dance to the music and Annette&acute;s large scale photography was projected behind the dance and piano. Annette chose images from her stunning series of Seagulls in motion.&nbsp;</p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; ">&nbsp;</p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; ">Several months later, as I walked along the Suffolk coast, here were the seagulls again. The story and music of&nbsp;<em>Mirrors of Light</em>&nbsp;is very much for me about Soul &acute;traveling and expanding&acute; in consciousness, so the key image of a bird&nbsp;that connects ocean and land, representing for me a link between the spiritual and earth, offered me a perfect metaphor. Realising this, I felt a deeper connection to the journey I was making and the creative process became clearer. &nbsp;</p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; ">&nbsp;</p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; ">After this I started to notice how &acute;The Seagull&acute; was appearing at key points in my creative journey. For example, when I visited Gloucester Cathedral to plan a concert performance there, there was a sculpture in the town centre that to me, looked very much like a CD rack, and there perched on the top was, yes, a seagull! Arriving at Gloucester Cathedral I was surprised and delighted to find that seagulls abound there too!&nbsp;</p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; ">&nbsp;</p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; ">During the evening of the Gloucester cathedral concert, when the pianist Patricia Siffert arrived at the &lsquo;still point&rsquo; of her performance of&nbsp;<em>Mirrors of light 2</em>, a point where the music embraces space and silence, the seagulls above the Cathedral, started to call. To some that might have been considered as interrupting the music, but In my opinion that was perfect timing! Their sound became part of the live performance. Then as the piece came to an end, the Cathedral joined in too - with a couple of perfectly placed chimes to complete the performance. Divine orchestration! Showing me when we engage and work with the rhythms of the life force, we are shown we are not alone in the creative process.</p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; ">&nbsp;</p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; ">Mirrors of Light - 21st century piano music by Rosemary Duxbury</p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; ">performed by Patricia Siffert</p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; ">&nbsp;</p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; ">Available as a CD or download from iTunes, CD Baby or composer&acute;s website &nbsp;</p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; ">&nbsp;</p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; "><a href="http://www.facebook.com/l.php?u=http%3A%2F%2Fwww.cdbaby.com%2Fcd%2Frosemaryduxbury&amp;h=_AQGK2CFr&amp;s=1" rel="nofollow" target="blank" style="cursor: pointer; color: rgb(59, 89, 152); text-decoration: none; ">http://www.cdbaby.com/cd/rosemaryduxbury</a>&nbsp;&nbsp;</p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; ">&nbsp;</p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; "><a href="http://www.facebook.com/l.php?u=http%3A%2F%2Fwww.rosemaryduxbury.com&amp;h=cAQEqWkYr&amp;s=1" rel="nofollow" target="blank" style="cursor: pointer; color: rgb(59, 89, 152); text-decoration: none; ">www.rosemaryduxbury.com</a></p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; ">&nbsp;</p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; ">Also watch Patricia Siffert perform extracts of &acute;Mirrors of Light 1&acute; on YouTube &nbsp;</p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; "><a href="http://www.facebook.com/l.php?u=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3Dk7XjpGd8lDA&amp;h=UAQGxQb9h&amp;s=1" rel="nofollow" target="blank" style="cursor: pointer; color: rgb(59, 89, 152); text-decoration: none; ">http://www.youtube.com/watch?v=k7XjpGd8lDA</a>&nbsp;</p> <p style="margin: 0px; font-size: 13px; line-height: 19px; color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; text-align: left; ">&nbsp;</p> <p>&nbsp;</p> GMT http://www.composersalliance.com/composers/blog.cfm?blog=34 Rosemary Duxbury Light Falling (January 2013) - Rosemary Duxbury http://www.composersalliance.com/composers/blog.cfm?blog=35 <p>The soft snowfall we&acute;ve been having here in England, reminds me of when I composed &acute;Light Falling&acute; (a piece for string orchestra &amp; harp).</p> <p>I compared the inspiration of an inner experience of light &acute;falling&acute; to that of snow falling lightly like soft downy feathers forming a new brighter landscape of light which was happening outside my window as I wrote the piece. I composed this after composer Geoffrey Burgon suggested I write a companion work to an earlier string piece &acute;Aurora&acute;.<br /> To listen to an extract of the music:<a href="http://www.rosemaryduxbury.com/sounds/Light-Falling-Excerpt.mp3" target="blank" rel="nofollow nofollow" style="cursor: pointer; color: rgb(59, 89, 152); text-decoration: none; ">http://www.rosemaryduxbury.com/sounds/Light-Falling-Excerpt.mp3</a><br /> Full version is available on my album &quot;Streams&quot;.</p> GMT http://www.composersalliance.com/composers/blog.cfm?blog=35 Rosemary Duxbury CCA Composer of the Month – June 2013 - Rosemary Duxbury http://www.composersalliance.com/composers/blog.cfm?blog=42 <p><b>Your featured Composition(s) of the Month:</b></p> <!--[if gte mso 9]> 0 0 1 1983 11308 Kingfisher Chorale 94 26 13265 14.0 <![endif]--> <!--[if gte mso 9]> Normal 0 false false false EN-US JA X-NONE <![endif]--><!--[if gte mso 9]> <![endif]--> <!--[if gte mso 10]> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normalmso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-ansi-language:EN-US;} <![endif]--> <!--StartFragment--> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><em><b>Mirrors of light 1 &amp; 2</b></em></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b>Instrumental and/or vocal resources used:</b></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">Piano solo</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b>First performance details</b></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">World premiere of <b><i>Mirrors of light 1</i></b>: Fraser Noble Hall, University of Leicester. Friday 22nd June 2012 followed by a performance at the <a href="http://www.flickr.com/photos/majorclanger/3498311799/">Chapter House</a>, <a href="http://www.gloucestercathedral.org.uk">Gloucester Cathedral</a> on Saturday 23rd June 2012. (Both given by pianist <a href="http://www.charasound.com/artists/Patricia_Siffert.html">Patricia Siffert</a> - see photo top right)</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b><i>Mirrors of light 2</i></b> - World premiere <a href="http://translate.google.co.uk/translate?hl=en&amp;sl=de&amp;u=http://de.wikipedia.org/wiki/Reitstadel&amp;prev=/search%3Fq%3Dkulturhaus%2Breitstadel%2Bneumarkt%2Bwiki%26hl%3Den%26biw%3D1415%26bih%3D865%26site%3Dimghp">Reitstadl Kulturhaus</a>, <a href="http://en.wikipedia.org/wiki/Neumarkt_in_der_Oberpfalz">Neumarkt</a>, Germany October 2011</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b>Performers on your recording</b></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">Patricia Siffert, piano</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b>Of the work(s) you have selected for the Composer of the Month feature, what was the source/inspiration/commission which set this piece or these pieces in motion?</b></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">In recent years of writing, I knew I had opened up to a greater exploration of my own consciousness. It&acute;s an ongoing journey and this time it felt I was traveling through space showing me new areas waiting to be explored. Following this, <i>Mirrors of light </i>began to emerge. As is usual with my work, I perceive light informing the structure. I could sense mirrors involved as if light was being projected into space so that I could see something beyond. At the same time, there was the feeling of reflections on an expanse of water, and I realised that bodies of water are also mirrors of light. What was curious however, is that I knew the first piece that came through was called <strong><i>Mirrors of Light 2</i></strong><i>, </i>which of course told me I had <strong><i>Mirrors of Light 1</i></strong><i> </i>still to write, which arrived a year later.</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">The world premiere of <b><i>Mirrors of Light 2</i> </b>was given by Patricia Siffert in 2011 at the <a href="http://www.panoramio.com/photo/1178467">Reitstadl Kulturhaus</a> in Neumarkt, Germany , as part of an exciting new artistic collaboration between artists of three nations: Patricia performed alongside projection of <a href="http://www.annettehorn.com">Annette Horn</a>&acute;s photographic images and a newly choreographed dance by German ballet dancer <a href="http://essigmann-dance.jimdo.com/galerie/">Oliver Essigmann</a>. <b><i>Mirrors of Light 1</i> </b>received its world premiere at the <a href="http://www.le.ac.uk">University of Leicester</a> s <a href="http://www.flickr.com/photos/nedtrifle/2416947252/">Fraser Noble Hall</a> in June 2012 followed by a performance at <a href="http://www.flickr.com/photos/majorclanger/3498311799/lightbox/">Gloucester Cathedral</a>.</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b><i>Mirrors of Light</i></b> has been recorded on the CD of the same name, with pianist <a href="http://www.charasound.com/artists/Patricia_Siffert.html">Patricia Siffert</a> showcasing Rosemary s latest piano music. (see photo right). It was recorded at <a href="http://www.pottonhall.com">Potton Hall Studio</a> by recording engineer <a href="http://www.alanhames.co.uk">Alan Hames</a>.</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">The motif of a Seagull features on the CD cover and has been a recurring theme throughout the story of <em><strong>Mirrors of Light</strong></em>. To read more please click <a href="https://www.facebook.com/notes/rosemary-duxbury-composer/the-seagull- motif/517812201574204">here</a>.</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b>What would be a good programme note for this work (or these works) which explains the structure, use of melody and harmony and any technical points related to the performers?</b></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b><i>Mirrors of light 1</i></b><i> </i>is a piano sonata with three movements, played continuously. The first movement starts with a motif or repeating mantra that subtly shifts and changes allowing a melody to slowly emerge and build. It is an energetic fast moving start, marking a journey which later passes through calmer moments, evolving into a higher octave section marked <em>misterioso</em>, which for me represents going to a subtler place, going into the octave of the higher heavens . This leads up to the climax of the movement followed by a tranquillo and free flowing end to the first movement. The second movement is more delicate and free, with some more jazz influence, strong melody, and with a more open, broader landscape. The final movement picks up the opening energy in a pianissimo dynamic and travels via a section that has an improvised feel to a grander melodic section marked by its octave chords. The journey continues onwards, building in grandeur and movement. Just before the final page, my favourite moment is when I feel a particular high paused note floats upwards to an invisible realm as if the sound has continued but beyond our hearing. The last page is marked Sound returns from above. The penultimate chord of the piece resolves to F sharp major (for the first time) suggesting arrival, but the final arpeggio figure takes us back to opening key of this movement (F sharp minor), perhaps to show how the journey never really ends but continues on...</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b><i>Mirrors of light 2</i></b> is a single movement work and a companion piece to <strong><i>Mirrors of light 1</i></strong><i>, </i>Click <strong><a href="http://www.youtube.com/watch?v=k7XjpGd8lDA">here</a></strong> to see <a href="http://www.youtube.com/watch?v=k7XjpGd8lDA"><strong>Y</strong><strong>ouTube</strong></a> video to watch <a href="http://www.charasound.com/artists/Patricia_Siffert.html">Patricia Siffert </a>perform extracts from the Gloucester Cathedral concert. The following <a href="http:// http://www.youtube.com/watch?v=KgMzaDS2SLs">YouTube</a> video follows the recording of the works at<a href="http://pottonhall.com"> Potton Hall</a>.</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b>When did you first start composing and what was your first piece?</b></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">From an early age I would sit at the piano improvising for hours, sometimes singing melodies and harmonies over the piano sound. I would become totally absorbed in a journey of sound. I wrote out a formal piano composition around the age of 14 with a newly acquired <a href="http://www.rotring.com/en/">Rotring pen</a> on manuscript paper, which I then cut and glued into a booklet, and called the piece Opus 1. I obviously believed that this was the start of many more pieces and future publication! Although it was very simple, it did have some of the minimalist ideas that I came to develop later on.</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">I studied Music and Inter-arts at <a href="http://www.bretton-hall.com">Bretton Hall College</a> and took the first year of composition and my final composition was a piece based on <a href="http://en.wikipedia.org/wiki/Tintinnabulation">tintinnabulation</a> (before I d come across the term). The course was actually called Creative Music , which was primarily an exploration of what is music? . It was encouraging me to look more deeply within. This was also developed by the Inter-Arts part of the course where we explored the creative process behind the form. I chose to study the 20th century abstract artists specifically <a href="http://en.wikipedia.org/wiki/Piet_Mondrian">Piet Mondrian</a>, which opened a greater understanding of what is behind the art and what makes an artist create. The abstract artists wrote about their creative process too, which explained a lot to me. Classical composers just seemed to have been born writing music, so it was hard to know how to relate to them but studying the visual artists opened up a desire to see what was within my own consciousness. Then I came across the writings of <a href="http://en.wikipedia.org/wiki/Carl_Jung">Carl Jung</a>, who described how the individual can access a pool of creativity within, - this was a huge turning point for me. A light switched on inside. Also I steadily started to work on other creative projects which included film making, installations and theatre and I started to get the whole process of how one becomes an artist. After I left college, I worked in radio, and taught some filmmaking and drama but it wasn t very long before I realised I wanted to apply my creativity to music (my first love) and once I made this switch, composing quickly developed again.</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b>Who was it that first encouraged you to develop your interest in composing and how did they help?</b></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">As a violinist and pianist, I was immersed in playing and improvising, but wanted to start recording some ideas. I bought a Fostex 4-track multitrack recorder and played around with layering and recording. I was taking post-graduate violin lessons with <a href="http://www.dixie.org.uk/?i=22473">Celia Davies</a> <a href="http://en.wikipedia.org/wiki/Order_of_the_British_Empire">MBE</a> who also ran the <a href="http://www.peckletonarts.co.uk">Peckleton Music Festival</a>. I showed her some of my musical ideas one lesson, and she immediately supported me. She told me to think much bigger, to write for full orchestra, with the promise that if I delivered her an orchestral score, that she would offer me a concert at her festival. How could I refuse such a wonderful invitation? Not only did I have to then write for orchestra, I had to find the players, a conductor, and write enough music for a full concert. I managed this by inviting another composer to share the platform with me and we called the concert The composer speaks... My first orchestral piece was called <em><strong>Inner Journey</strong></em>, a four-movement piece scored for full symphony orchestra. Alongside this, I am extremely grateful for the support and encouragement of my husband Mike Duxbury, the loyalty and expertise of my recording engineer Alan Hames and the wisdom and teachings of Harold Klemp, all of which have been extremely invaluable from the start.</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b>Who do you consider your greatest inspirations in terms of the major composers and which of their works has influenced you the most and why?</b></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">From the age of 14 I became interested in <a href="http://www.stockhausen.org">Stockhausen</a> s ideas about sound and the spiritual spheres. However when I started writing classically, unlike Stockhausen I felt a strong connection with melody, and had to be true to the sound that was coming through me. I could see my style was aligned to the minimalist school, and discovering the music of Philip Glass, I realised that I was on the right track. Knowing my music was inspired from within , feeling connected to a spiritual source, it was also very reassuring to discover the music of <a href="http://en.wikipedia.org/wiki/Arvo_P rt">Arvo P rt</a> (<b><i><a href="http://www.youtube.com/watch?v=f3B4YWCj1a4">Cantus in Memoriam Benjamin Britten</a> </i></b>and <b><i><a href="http://www.youtube.com/watch?v=hV4LlCtvgwE">Spiegel im Spiegel</a> </i></b>were turning points for me) and <a href="http://en.wikipedia.org/wiki/John_Tavener">John Tavener </a>(<a href="http://www.johntavener.com/work/the-call/"><b><i>The Call</i></b> </a>and <b><i><a href="http://www.youtube.com/watch?v=XyBp9hrzDQE">The Lamb</a></i></b> are favourites). I also feel a definite link to the French school of <a href="http://en.wikipedia.org/wiki/Claude_Debussy">Debussy</a>, <a href="http://en.wikipedia.org/wiki/Satie">Satie</a> and <a href="http://en.wikipedia.org/wiki/Ravel">Ravel</a>.</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">A huge influence also came from listening to ECM jazz and fusion artists, specifically <a href="http://en.wikipedia.org/wiki/Keith_Jarrett">Keith Jarrett </a>and <a href="http://en.wikipedia.org/wiki/Jan_Garbarek">Jan Garbarek </a>who were expressing joyful melodies in a fresh contemporary form, with exciting rich colours, rhythms and ideas.</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">Other early influences are probably the songs of <a href="http://en.wikipedia.org/wiki/Paul_Simon">Simon</a> &amp; <a href="http://en.wikipedia.org/wiki/Art_Garfunkel">Garfunkel</a>, the rhythms of <a href="http://en.wikipedia.org/wiki/Jean_Michel_Jarre">Jean Michel Jarre</a>, the sound worlds of <a href="http://en.wikipedia.org/wiki/Stephan_Micus">Stephan Micus</a> and <a href="http://en.wikipedia.org/wiki/Deuter">Deuter</a>, <a href="http://en.wikipedia.org/wiki/Pat_Metheny">Pat Metheny</a> s rich harmonies and melodies, <a href="http://en.wikipedia.org/wiki/Michael_Stearns">Michael Stearns</a> <b><i><a href="http://en.wikipedia.org/wiki/Baraka_(film)">Baraka</a></i></b> soundtrack, <a href="http://en.wikipedia.org/wiki/Harold_Budd">Harold Budd</a> &amp; <a href="http://en.wikipedia.org/wiki/Brian_Eno">Brian Eno</a> s <b><i><a href="http://www.youtube.com/watch?v=Fap4oTC05B0">The Pearl</a></i></b>, and the writings of <a href="http://www.om-guru.com/html/saints/khan.html">Hazrat Inayat Khan</a>.</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b>How would you describe your style to someone who has never heard your music before?</b></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">Melodic, minimalist, romantic, spiritual. Others have described it as sensual, passionate, exquisite.</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b>What do you feel is original in your music?</b></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">I think I have an original sound in my music, my own voice . My music comes from within - an inner sound, and someone described it as being autobiographical of the soul. Performers and audiences have told me you can tell it s Duxbury , and I do feel I have my own tonal and minimalist language with which to express my ideas. I m interested in the sound after the sound which is why the piano works well for me (the harmonics and notes that hang in the air after they have been played). I m not saying that s original to me, but it s that effect in my music that particularly defines my sound. Although I feel it s very rooted in a classical tradition and is written for the concert repertoire, it also appeals to listeners looking for music in a spiritual context and it is used in other fields such as film, visual arts, multi-media, dance.</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b>How do you work? What methods of creativity and work ethic do you have? Do you solely use musical technology or do paper and pencil still form a part of your process?</b></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">My essentials are piano, pencil and manuscript. I keep a sketchbook of musical ideas, which I keep on my piano, and then it s there for the times when there s a download ! I have to be ready to engage with that inner flow. When the process starts it sometimes feels like an archeological dig , that the structure already exists, I m just bringing through something I ve already been working on inwardly , that s already formed and is an expression of what s within. Therefore a lot of my creative process comes from listening inwardly.</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">To help this, I start the day with a contemplation (a spiritual exercise). For example I sing the sound of HU which acts as a tuning fork for preparing my day ahead. Sometimes composition ideas and sounds come from dreams, so I make sure I have paper and pen by my bedside too.</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">Using music technology is also part of my day as I work with <a href="https://www.apple.com/uk/logicpro/">Logic Pro</a>, various sound libraries and <a href="http://www.sibelius.com/home/index_flash.html">Sibelius</a>.</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b>What projects are you currently working on?</b></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">Currently concentrating on composing with music technology to develop new sounds, ideas and collaborations.</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b>To finish, who or what is your favourite:</b></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b>Genre of Music?</b></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">Piano</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b>Instrumentalist?</b></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">Without a doubt, the pianist <a href="http://www.charasound.com/artists/Patricia_Siffert.html">Patricia Siffert</a> who I feel very privileged to know, have as my friend, and have perform and record all my piano music.</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b>Singer?</b></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">I have several very good friends who are excellent singers. Two of my favourites are from America: <a href="http://www.youtube.com/watch?v=8-2_XFKlhVA">Annie Towhill </a>and Susan Stern. Their voices totally open the heart. Classically, I feel privileged to have worked with British singers <a href="http://www.owenwhitemanagement.com/sopranos/Julie-Moffat/reviews/">Julie Moffat</a> (soprano) and<a href="http://thenakedvoice.com/chloe-goodchild/"> Chloe Goodchild</a> (alto), both of whom have recorded my songs beautifully.</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b>Conductor?</b></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">I m always very inspired by musicians who seem to convey music through their very being even before they ve played a note. Ashkenazy seems to be one of these people, and as soon as he walks on stage, I feel he s already conducting sound . I love the passion and enthusiasm of <a href="http://benjaminzander.com">Benjamin Zander</a>. I m also very grateful to <a href="http://www.emmanuelsiffert.com/en/index.php">Emmanuel Siffert </a>and my colleague <a href="http://www.composersalliance.com/composers/index.cfm?composer=161">David Fisher</a> who have conducted my orchestral and choral work with extraordinary sensitivity and understanding.</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b>Chamber Ensemble?</b></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">The best ensemble I ve played with was with a group from all over the States coming together for a one-off experience. <a href="http://www.rodneyjones.com">Rodney Jones</a> (guitar professor from the Juilliard), <a href="http://www.cdbaby.com/cd/nancyshoopwu">Nancy Shoop-Wu</a> (a violinist from the Hawaii Symphony Orchestra), <a href="http://www.emilywongmusic.com/EmilyWongBioPage.htm">Emily Wong</a> (concert pianist from New York), Amy Sailer (violinist from LA), <a href="https://www.russellstern.com">Russell Stern </a>(conductor from Chicago) and 3 singers: Annie Towhill, Susan Stern and Carolyn Walsh.. We had so much fun - hope we can do that again one day!</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b>Concert Venue?</b></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">From the venues I ve worked in, the <a href="http://www.music.ox.ac.uk/facilities/Holywell-music-room.html">Holywell Music Room</a> in Oxford is a personal favourite. The first purpose built concert hall in Europe, it s exquisite in its style, intimacy and history. Other personal highlights include having my music performed at <a href="http://en.wikipedia.org/wiki/St_Martin-in-the-Fields">St. Martin-in-the-Fields</a> in <a href="http://en.wikipedia.org/wiki/Trafalgar_Square">Trafalgar Square</a>, and playing piano at the <a href="http://www.minneapolis.org/minneapolis-convention-center">Minneapolis Convention Centre</a> (see photo).</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b>Piece of Music?</b></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">Well I guess that depends on the moment, there s just so much wonderful stuff to choose from!</p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><strong>NOTE</strong> <strong>FROM THE E</strong><strong>DITOR</strong> - If you have enjoyed Rosemary s pieces and wish to discover more about her and her music go to her <strong><a href="http://www.rosemaryduxbury.com/music/Composer:_Rosemary_Duxbury.html">website</a></strong> or click the following pieces for further insights into her music: <em><strong><a href="http://www.youtube.com/watch?v=NEei3zIGzog">Prayer</a></strong></em> &amp; <em><strong><a href="http://www.youtube.com/watch?v=aAXJurFcaPc">Angel Whisper</a></strong></em>.</p> <!--EndFragment--> GMT http://www.composersalliance.com/composers/blog.cfm?blog=42 Rosemary Duxbury On meeting John Tavener - Rosemary Duxbury http://www.composersalliance.com/composers/blog.cfm?blog=60 <p>I don&acute;t think I could say I &acute;met&acute; John Tavener, but I spent some time with him when I attended a private talk he gave on &acute;music and the psyche&acute; in London in the mid 90s. What was striking was his gangly, fragile physical frame - an &acute;ascetic&acute; image indeed but created by Marfans. His dedication to music being a vehicle for the &acute;Spiritual&acute; was paramount. I first came across him from purchasing an LP featuring &acute;Ikon of Light&acute;, with the unusual image of him sitting in a deckchair on a Greek beach. I was immediately captivated by the sound in his music, and very drawn to his use of the &acute;eternal&acute; note, which has always resonated with me too.</p> <p>He came across as being shy although that might have been my misperception, so I didn&acute;t approach him for a private conversation, even though I stood quietly next to him for a while at teatime. I wish I had spoken with him now. He was one of a new breed of composers to openly express the spiritual and melody, daring at the time, but mirrored exactly my purpose in becoming a composer. At this time in his life he felt there was only &acute;one way&acute; in music - (Orthodox), and although this is a limiting view, perhaps it was necessary for him at this time to utterly be immersed in this to get to the heart of being a vehicle of expression for it. His music is certainly conveying an aspect of the divine and has taken a central place in the changes that occurred in late 20th century music.<br style="color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 17px;" /> That day it was also a privilege to hear him play to us the newly written &quot;Song for Athene&quot;, before it was used at Diana&acute;s funeral (which firmly placed him in the history books).<br style="color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 17px;" /> Britain is fortunate to have him as one of our great composers, expressing a new and emerging, yet timeless consciousness from our shores, providing a legacy of truly beautiful and breathtaking music for the world. My favourite works are &quot;The Call&quot;, which mysteriously is very hard to locate, but worth searching out (I heard a wonderful performance of it at the Gloucester Three Choirs Festival) and &quot;The Lamb&quot;, a great public favourite.&nbsp;<br style="color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 17px;" /> He was a big influence and help in my journey of composing for which I am very grateful, so perhaps in one sense I did &acute;meet&acute; him and in a realm of &acute;silence&acute; that maybe, somehow, makes it more poetic.&nbsp;<br style="color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 17px;" /> I&acute;m sure he&acute;ll be very at home in the heavens where his music hailed from and where the angels will be giving him a very warm welcome.</p> <p><br style="color: rgb(51, 51, 51); font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 17px;" /> <a href="http://www.facebook.com/l.php?u=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DIYpVGBSS65o&amp;h=LAQESUGQWAQH6nuJDp7rkFliOCfxSpA6b5MLtvlIgdQlJGg&amp;s=1" rel="nofollow nofollow" target="blank" style="color: rgb(59, 89, 152); cursor: pointer; text-decoration: none; font-family: &acute;lucida grande&acute;, tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 17px;"><iframe width="420" height="315" src="//www.youtube.com/embed/IYpVGBSS65o" frameborder="0" allowfullscreen=></iframe></a></p> GMT http://www.composersalliance.com/composers/blog.cfm?blog=60 Rosemary Duxbury "THE COMPOSER SPEAKS…" 25 years on - 23rd July 2014 - Rosemary Duxbury http://www.composersalliance.com/composers/blog.cfm?blog=74 <p>25 years ago today, on July 23rd 1989, I presented the first concert of my music. It was the launch of my composing career. Earlier that year I had shown some of my ideas for chamber compositions to my then violin teacher Celia Davies MBE. Her response was &lsquo;think much bigger!&rdquo;&nbsp;</p> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none">She advised me to write for symphony orchestra and if I did so she would offer me a concert platform at the Peckleton Arts Festival, an annual music festival that she ran. As she opened her front door for me to leave, my head was in a whirl but I was very aware of the gift of opportunity being offered, however daunting it seemed at the time.</p> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none">The result was I wrote a piece for orchestra called &ldquo;Inner Journey&rdquo; - a suite in 4 movements.&nbsp; Then I needed to set about bringing players and a conductor together for the occasion. I invited a selection of local but very talented amateur players (many of whom now work professionally and some internationally). Rehearsals took place in the local Friends Meeting House in Leicester, amidst the drama of overhead thunder claps as the first notes moved from manuscript to live sound.</p> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none">So came the day of the concert. The venue was Peckleton&rsquo;s Village Hall in rural Leicestershire. As well as the orchestral work, I also presented a Trio for Viola, Flute &amp; Harp (&ldquo;Da Luna&rdquo;), and a piece for String Orchestra (&ldquo;Aurora&rdquo;). I invited fellow composer Patricia Saunders to share the platform with me, and she presented a String Quartet and&nbsp; &ldquo;Five Songs on a Latin Text&rdquo; sung by Glyndebourne singer Jacquelyn Parker. We called the concert &ldquo;The Composer Speaks...&rdquo;</p> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none">Programme sorted, orchestra booked, all rehearsed, venue advertised. Who would turn up? I was relieved to see a packed audience squeeze into the quaint village hall on an extremely hot sunny evening, and excitement when the music critic from the Leicester Mercury (Peter Crump) clambered over the chairs to find the last remaining seat moments before the baton was lifted by conductor Michael Turner. This was my first experience of officially being a composer, hearing my music performed live in concert - a joyous feeling.&nbsp;</p> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none">It was such a privilege to hear a full orchestra in a little village hall packed with people and atmosphere play something I&rsquo;d written. I&rsquo;m so glad Celia said &lsquo;think bigger&rsquo;. She opened a door that led to a career of 25 years plus of composing and I am still loving the wonderful &lsquo;inner&rsquo; journey that music has taken me on.</p> GMT http://www.composersalliance.com/composers/blog.cfm?blog=74 Rosemary Duxbury Remembering my London debut - the 25th anniversary - Rosemary Duxbury http://www.composersalliance.com/composers/blog.cfm?blog=87 <p>&nbsp;</p> <p>25 years ago a concert of my chamber music was presented (alongside poetry by Valerie Denton and the music of composer Patricia Saunders) at the charming Burgh House in leafy Hampstead on a glorious sunny day with wisteria in full bloom. The programme featured the premiere of &quot;<em>Reverie</em>&quot; for viola and piano and also included &quot;<em>Nightingale</em>&quot; a song for voice, piano &amp; flute; &quot;<em>Three Dances</em>&quot; for string quintet (including Double Bass); and &quot;<em>Da Luna</em>&quot;, a trio for viola, flute and harp.</p> <p>It turned out to be a significant concert also because of meeting the English poet Jay Ramsay in the audience who subsequently sent me &lsquo;all&rsquo; of his poems, and many years of collaboration followed with me creating several song settings of his works.</p> <p style="margin: 0px; display: inline;">The London premiere of &ldquo;<em>Reverie</em>&rdquo; was given by Elizabeth Bell and Patricia Saunders. Here is a link to &ldquo;Reverie&rdquo; recorded by Catherine Musker (of the Michael Nyman Band), accompanied by Patricia Siffert on piano, for the album &ldquo;<em>On Wings of Light</em>&rdquo;.&nbsp;</p> <p style="margin: 0px; display: inline;">&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p style="margin: 0px; display: inline;"><br /> To listen or to download this track, please follow the link:&nbsp;<a href="http://l.facebook.com/l.php?u=http%3A%2F%2Fwww.cdbaby.com%2Fcd%2Fduxbury2&amp;h=tAQGFM_W9&amp;enc=AZP9fOwEvk8iFfLcStsE7UlOETpqn0HWDoJo7v7WU4vNAMbC5e2-gBcQ3X3Zo2UxWwOHsqUcHX8c3UWO4y6bmu9kZYCZQycb6Xx_qe7uUCyZtzPL87EssTLmSGqEGQP4tM3J2JqZskl0GID_HCfIVsFRmP8jdzBqc0zqZO7RZcNBFoW_k01D_E1wZJ61Ix38V99skjgLptnqFWJ3rZ-ukP_f&amp;s=1" target="blank" rel="nofollow" style="color: rgb(59, 89, 152); cursor: pointer; text-decoration: none;">http://www.cdbaby.com/cd/duxbury2</a></p> <p style="margin: 0px; display: inline;">&nbsp;</p> <p style="margin: 0px; display: inline;">&nbsp;</p> <p style="margin: 0px; display: inline;">&nbsp;</p> <p style="margin: 0px; display: inline;">To read more about &quot;<em>Reverie</em>&quot; and other works, please visit my website, where you can also purchase (the sheet music (price &pound;8).&nbsp;<br /> <a href="http://ww.rosemaryduxbury.com/music/Reverie_contemporary_viola_music.html">ww.rosemaryduxbury.com/music/Reverie_contemporary_viola_music.html</a></p> <p style="margin: 0px; display: inline;">&nbsp;</p> <p>&nbsp; <a href="http://www.cdbaby.com/cd/duxbury2" target="blank" rel="nofollow" style="color: rgb(59, 89, 152); cursor: pointer; text-decoration: none;"> &nbsp; </a></p> GMT http://www.composersalliance.com/composers/blog.cfm?blog=87