Central Composers Alliance Works by John Middleton 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. John Middleton Composers Classical Music John Middleton http://www.composersalliance.com/images/shops/182.jpg http://www.composersalliance.com/composers/index.cfm?composer=182 John Middleton Te Deum - John Middleton http://www.composersalliance.com/composers/work.cfm?work=1473 <p>This is a&nbsp;setting of the traditional Latin text. I found it easy to generate music from the Latin, whereas the English translation made me question, from a philosophical point of view, whether God needs praise. Obviously not, but we as spiritual beings need to re-connect with the Great Spirit, to fulfill our true destiny. Faced with the challenges of our material bodies and the material world, our lives are pilgrimages. This was in my mind during the process of composition. The earlier parts are gritty, and the second half thrashes around different keys. A degree of transcendence was the aim of the final section in the home key of G minor.</p> Sun, 17 Mar 2019 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1473 John Middleton Symphony No 1 - John Middleton http://www.composersalliance.com/composers/work.cfm?work=1439 Symphony in three movements completed in 2017 from sketches done in 1997: Scherzo (to which there is a recording link), Adagio, Allegro. Sun, 01 Jan 2017 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1439 John Middleton Symphony No 3 'The conversation' - John Middleton http://www.composersalliance.com/composers/work.cfm?work=1256 <p class="MsoNormal"><strong>The recording link is to the 4th movement - see below</strong></p> <p class="MsoNormal">This symphony comes from reflection about existence, the nature of reality; the emotions of loss and of joy. </p> <p class="MsoNormal">Ist Movement: An heroic life</p> <p class="MsoNormal">All life, from conception onwards, is a struggle for existence and for expression of the life force, and it has a finite trajectory. In this sense, I am referencing Beethoven s <i>Eroica</i> symphony no 3. Specifically, it prefigures the conversation portrayed in the third movement.</p> <p class="MsoNormal">2nd Movement: Agnus Dei</p> <p class="MsoNormal">We all experience loss, the need for help, and the struggle to re-engage with life. This also has the potential for nobility: even though the experiences are always with us, we can learn from them and they can make us stronger.</p> <p class="MsoNormal">3rd Movement: The conversation</p> <p class="MsoNormal">This is an imaginary conversation between a father and a daughter who was not born alive. During bereavement, many people experience hearing voices of those who have died. This is distinct from psychosis, where those affected have difficulty distinguishing what is reality. However, the nature of reality, subjective experience and the spirit is a mystery.</p> <p class="MsoNormal">4th Movement: Concertante of the spirit</p> <p> The composer enters a place where the mystery is where words are inadequate, though words from the previous movement are recalled by solo flute, oboe, violin and cello. In this place, away from the fragmented ego and its world, music is received. Being true to this vision helps the music speak to others, as in a communion of spirits or perhaps a collective unconscious. It has the potential of being at the same time universal and individual. The spirit is playful; there is pain, but joy predominates. Much of the preceding material is reworked and the piece resolves on the main theme of the first movement.</p> <p> </p> <p> </p> Thu, 08 May 2014 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1256 John Middleton Fit for a King - Variation 6 - John Middleton http://www.composersalliance.com/composers/work.cfm?work=1268 <p>This variation on the famous Welsh melody&nbsp;<i style="color: rgb(13, 36, 51); font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px;"><a href="https://en.wikipedia.org/wiki/Sosban_Fach" style="padding: 0px; color: rgb(0, 83, 0); font-weight: bold; text-decoration: none;">Sosban Fach</a>&nbsp;</i>was written in celebration of the birth of HRH Prince George of Cambridge, 22nd July 2013, and is respectfully dedicated to HRH Prince Charles, Prince of Wales; HRH Prince William, Duke of Cambridge, and HRH Prince George of Cambridge.</p> <p class="MsoNormal" style="margin: 0px 0px 15px; padding: 0px; color: rgb(13, 36, 51); font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px;">When the Duchess of Cambridge&rsquo;s pregnancy was announced, the Chairman of the Central Composers&rsquo; Alliance, David Fisher, resolved to bridge the royal generations by inviting his colleagues in the Alliance contribute to a joint work on a famous Welsh theme to acknowledge the lineage of the Princes of Wales from&nbsp;<a href="https://en.wikipedia.org/wiki/Dafydd_ap_Llywelyn" style="padding: 0px; color: rgb(0, 83, 0); font-weight: bold; text-decoration: none;">Dafydd ap Llywelyn&nbsp;</a>to HRH Prince Charles. As this heredity will continue to HRH Prince William, Duke of Cambridge, and then HRH Prince George of Cambridge, this work is therefore respectfully dedicated to all three generations.</p> <p class="MsoNormal" style="margin: 0px 0px 15px; padding: 0px; color: rgb(13, 36, 51); font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px;">The melody of&nbsp;<strong><i>Sosban Fach</i></strong>&nbsp;was chosen by David Fisher as one of the most famous of all Welsh tunes. It hasn&rsquo;t been chosen for its subject matter, though it is originally a nursery song, but for the popularity in the Principality as one of the most often sung songs in the Welsh language. It is best known for its association with<a href="http://www.scarlets.co.uk/" style="padding: 0px; color: rgb(0, 83, 0); font-weight: bold; text-decoration: none;">&nbsp;Llanelli Rugby Union Club</a>&nbsp;and by internationally renowned performers such as&nbsp;<a href="http://www.onlyboysaloud.com/" style="padding: 0px; color: rgb(0, 83, 0); font-weight: bold; text-decoration: none;">Only Boys Aloud</a>. Robert Ramskill arranged the theme before the composers&rsquo; contributions were collected over several months. Dr Ramskill was also entrusted to the difficult task of editing and ordering the pieces for publication.</p> <p class="MsoNormal" style="margin: 0px 0px 15px; padding: 0px; color: rgb(13, 36, 51); font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px;">The whole story of the&nbsp;<em><strong>Fit for a King&nbsp;</strong></em>and the accompanying videos may be accessed by clicking&nbsp;<strong><a href="http://www.composersalliance.com/home_feature.cfm?blog=52" style="padding: 0px; color: rgb(0, 83, 0); text-decoration: none;">HERE</a></strong>. Variation 6 of&acute;Sosban Fach&acute; is described by the composer thus:</p> <p class="MsoNormal" style="margin: 0px 0px 15px; padding: 0px; color: rgb(13, 36, 51); font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px;"><b>Variation 6 -&nbsp;<a href="http://www.composersalliance.com/composers/index.cfm?composer=182" style="padding: 0px; color: rgb(0, 83, 0); text-decoration: none;">John Middleton</a>:</b></p> <p class="MsoNormal" style="margin: 0px 0px 15px; padding: 0px; color: rgb(13, 36, 51); font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px;"><em><strong>&quot;Since my grandmother was called Kate Middleton I could not fail to respond to this invitation to write a variation for a set to be dedicated to the new royal baby. My approach is simple and heartfelt and the warm sonorities derive in large part from the use of the horn almost exclusively in its lower register.&quot;</strong></em></p> <p class="MsoNormal" style="margin: 0px 0px 15px; padding: 0px; color: rgb(13, 36, 51); font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px;"><iframe width="560" height="315" src="//www.youtube.com/embed/rVoK4XPty-g?rel=0" frameborder="0" allowfullscreen=></iframe>&nbsp;</p> <p class="MsoNormal" style="margin: 0px 0px 15px; padding: 0px; color: rgb(13, 36, 51); font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px;"><b>[<a href="http://www.composersalliance.com/home_feature.cfm?blog=52" style="padding: 0px; color: rgb(0, 83, 0); text-decoration: none;">Left</a>]&nbsp;</b><b><a href="http://www.serenatawinds.co.uk/" style="padding: 0px; color: rgb(0, 83, 0); text-decoration: none;">Serenata Winds</a></b>&nbsp;in the process of recording&nbsp;<b><i>Fit for a King</i></b>&nbsp;on July 22nd 2013 at the Ellen Terry Building of the&nbsp;<a href="http://www.coventry.ac.uk/" style="padding: 0px; color: rgb(0, 83, 0); font-weight: bold; text-decoration: none;">University of Coventry</a>&nbsp;on the very day that HRH Prince George Alexander Louis of Cambridge was born.</p> <p class="MsoNormal" style="margin: 0px 0px 15px; padding: 0px; color: rgb(13, 36, 51); font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px;"><b>[<a href="http://www.composersalliance.com/home_feature.cfm?blog=67" style="padding: 0px; color: rgb(0, 83, 0); text-decoration: none;">Right</a>]&nbsp;</b><a href="http://www.serenatawinds.co.uk/" style="padding: 0px; color: rgb(0, 83, 0); font-weight: bold; text-decoration: none;">Serenata Winds</a>&nbsp;performing the world premi&egrave;re of&nbsp;<b><i>Fit for a King</i></b>&nbsp;at the splendid venue of&nbsp;<a href="http://www.thearkalvechurch.co.uk/" style="padding: 0px; color: rgb(0, 83, 0); font-weight: bold; text-decoration: none;">The Ark</a>, St Laurence Church, Alvechurch, Worcestershire on the evening of 5th April 2014.</p> Mon, 22 Jul 2013 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1268 John Middleton Kyrie - John Middleton http://www.composersalliance.com/composers/work.cfm?work=991 <p>I wrote several settings for Kyrie, Sanctus and Agnus Dei for voice and guitar in 1994-6. This Kyrie is adapted from one I still sing regularly in church services. (3 mins)</p> Mon, 01 Aug 2011 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=991 John Middleton Ivanhoe 2010 version (Opera) - John Middleton http://www.composersalliance.com/composers/work.cfm?work=992 <p>This is the performing version of the opera which had its <a href="http://www.youtube.com/watch?v=7tvAxLuHVrk">premiere</a> on 9.7.11 by the Ivanhoe Festival singers and orchestra, directed by <a href="http://www.operahouse.name/kate.htm">Kate King.</a> The libretto is based on the novel by Sir Walter Scott. I had the privilege of singing the part of Malvoisin in the performance. </p> <p>It is a revised and abridged version of the score completed in 2000. The main changes involved removing three preludes and interludes which would have required a full orchestra and added considerably to its length.(2 hours)</p> <p><strong> A particularly fine duet between Ivanhoe <a href="http://www.singerspro.com/uk/view.php?uid=376217">(Lyndon Gardner)</a> and Rebecca <a href="http://www.operahouse.name/flutel.htm">(Clare Proctor)</a>....the music itself created an effective mediaeval atmosphere.. </strong>Leicester Mercury</p> <p><strong> ...<a href="http://www.youtube.com/watch?v=R0UtPZWc0SE">a lovely interlude</a> where one could almost imagine the scenery and the costumes of this historical epic. The capacity audience was warmly appreciative...<strong> </strong></strong> Loughborough Echo</p> <p><strong>Double CD containing whole opera, libretto and programme </strong></p> <p><strong>Contact: <a href="mailto:john.brinks@talktalk.net">john.brinks@talktalk.net</a></strong></p> <p> </p> <p> </p> Fri, 01 Oct 2010 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=992 John Middleton Bird Symphony (Symphony No 2) - John Middleton http://www.composersalliance.com/composers/work.cfm?work=994 <p>I wanted to write something abstract, that is without human voices and words. This piece uses abstractions of the songs of birds in different environments and seasons, which provide the basis for symphonic development.</p> <p>The structure of the seasons and life cycle gave it a philosophical and spiritual dimension as the composition proceeded.</p> <p>In April 2011, the music was used as a theme (Birdsong) for an exhibition of works by <a href="http://www.artspace-lboro.co.uk/">Artspace</a> at Charnwood Museum. The MIDI audio file was played at the private view and was available during the duration of the exhibition <strong>(</strong><strong>3rd movement <em>Autumn in the saltmarsh</em> is available on the link)</strong>. The image of part of the score was painted on a distressed gilded background by Erica Middleton. (65 mins)</p> <p class="MsoNormal"><b>Programme notes: Bird Symphony 2004-2009</b></p> <p class="MsoNormal">My first idea was to move away from music generated by words to something with <b>a degree of abstraction, based on the sounds of nature</b>. Having listened to and internalised bird song over many years, it was initially very difficult to develop the mental transcriptions into other forms, but I eventually freed myself from the primary motifs. Movements 1-3 start with images from nature, but develop in an abstract fashion.</p> <p class="MsoNormal">It became apparent that there is an analogy between developing bird song material and gardening. Humans have this <b>tendency to try and create order</b> from nature which is sometimes chaotic. The minute you turn away, the <b>disorder starts to creep back</b>. This happens continually in the music. Not that the dawn chorus is completely chaotic, but it is undisciplined.</p> <p class="MsoNormal">Parallel with this idea is the concept of<b> abstraction from nature and freeing the higher consciousness</b> or spirit from the shackles of the body and everyday existence.</p> <p class="MsoNormal">The bird songs, that interested me, came from different ecological environments, each with associated seasons. This was not a preconceived programme and the movements are not intended as tone poems.</p> <p class="MsoNormal">In the final movement, I wanted to <b>abstract the abstractions</b> from each of the other three, and to explore their relationships in a free way. To <b>discover inner truth by lowering the barriers of inhibition, as in the creative act or the dream state</b>, was the key idea behind this movement. My perspective on <b>the seasons, death and renewal</b> was influenced by the death of my father in March 2008, during the final stages of the composition. </p> <p class="MsoNormal">1. Spring over the Village</p> <p class="MsoNormal">Early spring at dawn: the sun comes up over the village roof tops. First a Blackbird, then a Song Thrush are heard, before the dawn chorus erupts. The movement is based on <b>sonata form</b> which contrasts the Blackbird s lyrical and the Song Thrush s rhythmic themes. The former is developed into three related panoramic ideas and the latter becomes simplified and pervasive.</p> <p class="MsoNormal">The Blackbird s song is in two parts, the first one lyrical, and the second probably picked up by mimicking someone like a builder whistling. For the second part, I took the rhythm out, slowed the phrase down and supplied harmony, so that it became, for me, a transcendental motif (in the 4th movement the <b>voice of God</b>)<b>.</b></p> <p class="MsoNormal">Disorder is never far away and <b>jazz-related elements</b> infiltrate the middle section. The lyrical elements become integrated with the simplified background thrush rhythm and the movement ends with a short coda and a <b>minor seventh chord</b> (meaning unfinished business, except in a jazz club?).</p> <p class="MsoNormal">2. Summer in the Woods</p> <p class="MsoNormal">These woods have a sultry feel about them, though the birds are still in full song. The Wood Pigeon is represented only by a repetitive rhythm. A slightly sinister Cuckoo is heard, before the show is taken over by the warblers, newly arrived from Africa: Willow Warbler and Chiffchaff, both <b>chromatic</b> and descending, the latter staccato and disjointed (<b>nature at its most undisciplined?</b>). From the maelstrom emerges the lyrical song of the Blackcap, which is developed further. The disruptive Chiffchaff keeps returning, eventually as pizzicato strings. Just as tonality starts to become distorted, the original Pigeon rhythm returns and the movement deconstructs to a single line of violins.</p> <p class="MsoNormal">3. Autumn in the Salt Marsh (with memories of spring)</p> <p class="MsoNormal">This movement is built around the <b>minimalistic calls of waders</b>, starting with the Seven Whistler or Whimbrel (literally seven short repeated notes) and rapidly incorporating Greenshank, Redshank and Ringed Plover. A repeated ascending triplet represents the song of the Curlew (very complex in real life), a motif which undergoes significant transformation in form during the movement.</p> <p class="MsoNormal">Underlying the calls of the waders is a heavier theme (actually related to the Curlew) which seems to become <b>the song of the earth </b>and which, in another guise, brings the movement to a close.</p> <p class="MsoNormal">The movement is punctuated by a noise resembling a ship s foghorn, or the sound produced by the Bittern in spring, which is where the <b>reminiscence of spring/youth</b> idea comes in.</p> <p class="MsoNormal">4. Elysian fields</p> <p class="MsoNormal">The majority of the final movement is characterised by the absence of double bass or brass involvement. A feeling of <b>dancing playfully without earthly constraints</b> is emphasised, in the introduction, by pizzicato strings. Above this, the important motifs are arranged in series, but not in their original order, and similarities become apparent as they are blended and interchanged. Thus the structure of the movement is established.</p> <p class="MsoNormal">During the exposition of the time-line of motifs, there are opportunities for further development of each one. Following a fugue-like section, the music becomes more dischordant and chaotic, with a return to raw bird calls and polymodality. This is followed by a <b>small voice of calm</b> based on the second half of the Blackbird song.</p> <p class="MsoNormal">Subsequently, the music becomes more organised and lyrical, though with restless tonality. In the final section, the Blackbird and Song Thrush, the voice of God , a jazz-derived bass riff from the third movement and the song of the earth are all prominent. The reintroduction of double bass and brass reconnects with earthly influences and the coda theme from the first movement reappears to more purpose, leading inevitably to the relative major chord: renewal and optimism. </p> <p class="MsoNormal">John Middleton 30.11.07 (movements 1-3) and 27.4.09 (final movement)</p> <p class="MsoNormal"><strong>CD with the virtual orchestra</strong> is available - please contact me if you are interested: john.brinks@talktalk.net </p> Mon, 27 Apr 2009 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=994 John Middleton St John Passion (Oratorio) - John Middleton http://www.composersalliance.com/composers/work.cfm?work=993 <p><strong>Prelude</strong> (<em>Raising of Lazarus</em>); <strong>Passion</strong>; <strong>Epilogue</strong> (appearances after <em>Resurrection</em>).</p> <p>I wrote this <a href="http://en.wikipedia.org/wiki/Oratorio">oratorio</a>, with a text based on the <a href="http://en.wikipedia.org/wiki/Revised_Standard_Version">Revised Standard Version</a> of <a href="http://en.wikipedia.org/wiki/Gospel_of_John">St John s Gospel</a>, in memory of my friend, the Rev John Walker, with whom I used to perform folk and gospel music.</p> <p>One of the numbers we used to do was <strong><em>I am the Resurrection</em> </strong>by <a href="http://www.ocp.org/artists/634"><strong>Ray Repp</strong></a>. I have used the refrain, with Ray s kind permission, as a motif running through the whole work. The link takes you to the last movement in which his refrain is prominent. It is a live recording from the premi re performance.</p> <p>The premi re was on Saturday 23rd March 2013 and the review [29th March 2013] of the concert from the <a href="http://www.loughboroughecho.net">Loughborough Echo</a> is below left and also below in readable text.</p> <p><b>The performers at the premi re were:</b><b><i>The Ivanhoe Festival Ensemble</i></b><b>:</b></p> <!--[if gte mso 9]> 0 0 1 104 596 Kingfisher Chorale 4 1 699 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"><b>Musical Director <a href="http://www.operahouse.name/kate.htm">Kate King</a>; Clarinet <a href="http://www.leicesterso.plus.com/news.htm">Bob Greenlees</a>; Cello Chris Dunn; Midi Keyboard Chris Hill.</b></p> <p class="MsoNormal"><b><i>The Ivanhoe Festival Singers </i></b>[with the roles they also sang]<b>:</b></p> <p class="MsoNormal"><b> SOPRANOS <a href="http://www.operahouse.name/clare.htm"> Clare Proctor</a> </b>[Martha, the sister of Lazarus]<b>, <a href="http://www.operahouse.name/kathryn.htm">Kathryn Greenlee</a></b> [Mary, the other sister, & Maid]<b>,</b> <b>Rebekah Broad;</b></p> <p class="MsoNormal"><b>ALTOS Irene Goodrich </b>[Mary Magdalen]<b>, Helen Shacklock, <a href="http://homepage.ntlworld.com/vindi.mc/repertoire.htm">Cathryn Vindelis</a>;</b></p> <p class="MsoNormal"><b>TENORS <a href="http://www.operahouse.name/lyndon.htm">Lyndon Gardner </a></b>[Jesus & Vocal Advisor]<b>, Adrian Dobson </b>[Pontius Pilate]<b>, John Bassford </b>[Peter]<b>, <a href="http://homepage.ntlworld.com/vindi.mc/repertoire.htm">Martin Vindelis </a></b>[Judas & the other Judas]<b>;</b></p> <p class="MsoNormal"><b>BASSES <a href="http://www.operahouse.name/david.htm">David Henshaw</a> </b>[Thomas]<b>, Barry Smith </b>[John]<b>, Gerry Brennan </b>[Soldier]<b>, <a href="http://www.operahouse.name/stephen.htm">Stephen Foster</a> </b>[the Voice of God & Caiaphas]<b>.</b></p> <!--EndFragment--> <p>The front cover of the programme features: <strong><em><a href="http://www.wikipaintings.org/en/fra-angelico/noli-me-tangere-1442">Noli me tangere</a></em></strong><em> - </em>miniature fresco by <strong><a href="http://www.artspace-lboro.co.uk/erica.html">Erica Middleton</a></strong>, after <a href="http://en.wikipedia.org/wiki/Fra_Angelico"><strong>Fra Angelico</strong></a>, which is shown in the column on the left.</p> <p><strong>A double CD of the live performance</strong> <strong>is available for 8 (+ 1.50 p&p)- please e-mail me if you are interested: john.brinks@talktalk.net</strong></p> <p><strong>Ray Repp s response to hearing the final track of the recording:</strong></p> <p>All I can say is "WOW Really moving. I m very impressed. Thanks for sending this, and I wish you the best of luck in finding a greater audience.</p> <p class="MsoNormal"><b>Review of "St John Passion</b></p> <p class="MsoNormal"><em>It is always a privilege to hear a new composition for the first time as, on this occasion, it was a unique opportunity to hear how the composer, in this case John Middleton from Quorn, fashioned his work to present the familiar story of Christ s Passion in a innovative and thought-provoking way. John Middleton s episodic structure was effective in that the scenes, in three sections: Prologue, Passion and Epilogue, combined rather like an opera to present a coherent narrative. Inevitably, though, such an oratorio requires complete understanding of the text and in the over-resonant acoustic of Trinity Church, Royland Road, it was very difficult to hear what the performers were singing about. Fortunately there were bibles in every seatback so many in the audience followed the story and some of the text in an alternative version. This was a shame as the composer was well served by his performers. Individually there were many moments of beauty but it was as an ensemble that they came into their own. The textural contrasts between soloists and ensembles and the instrumentalists worked very well indeed but the choral writing (especially in the Arrest and Fishing scenes) was particularly well balanced with some intense harmonies. A few soloists were underused but, for me, the three that stood out were Irene Goodrich [Mary Magdalene] for her clarity and huge range, Adrian Dobson [Pilate] for his dramatic interpretation and good diction and John Bassford [Peter] for his sympathetic portrayal. Lyndon Gardner, as Jesus, was barely off the platform and he coped quite well with the taxing lines. He really understands how to interpret John Middleton s music, as does the musical director Kate King who directed the small but excellent three-player ensemble with aplomb. Less successful were the virtual orchestra sections which, whilst accompanied by appropriate visual imagery, were musically vibrant but suffered in the synthesised sounds of the instruments especially the strings and percussion. Nevertheless the appreciative audience, on an appallingly cold and snowy night for a concert, showed the warmth of their appreciation for an important world premi re by a Leicestershire composer in the heart of Loughborough. It is a powerful story, tellingly told.</em></p> <p><strong><em>David Fisher </em></strong></p> Fri, 01 Nov 2002 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=993 John Middleton Ivanhoe Symphonic Suite - John Middleton http://www.composersalliance.com/composers/work.cfm?work=1297 <p> The original 2000 short score of the Ivanhoe opera includes 3 preludes and 3 interludes for the corresponding Acts 1-3, none of which were used in the performance of 2011. I have transfered them to long score and reorchestrated the movements. The final version also includes the short overture used in the live premier in 2011, and a finale based on the interlude and final bars of Act 3 Scene 3.</p> <p>The work is symphonic, in that a variety of motifs undergo increasing development and recombination during the course of the whole. </p> <p> </p> <p>1. Tragic Overture</p> <p>2. Tournament at Ashby de la Zouch</p> <p>3. Rebecca nurses Ivanhoe</p> <p>4. Forest Journey and Abduction</p> <p>5. Siege of Torquilstone Castle</p> <p>6. Flight to Templestowe</p> <p>7. Rebecca in the Dungeon</p> <p>8. Awaiting a Champion; Finale</p> <p><strong>The recording link is to the 7th movement</strong></p> <p> </p> <p> </p> <p> </p> <p> </p> <p> </p> <p> </p> <p> </p> <p> </p> <p> </p> Sat, 01 Jan 2000 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1297 John Middleton Symphony No 4 'A Blackbird in Quorn' - John Middleton http://www.composersalliance.com/composers/work.cfm?work=1430 <p>This is work in progress, but I have completed three movements out of four. The music arises out of the individual repertoire of an individual Blackbird that must by now be at least seven years old. He is silent from late July to mid-March. Other birds copy some of the phrases, but none of them have the whole portfolio, nor are they as fluent. Will he reappear in 2017?</p> <p>1. Back from the dead</p> <p>2. Minuet and Trio plus</p> <p>3. In Excelsis</p> <p>4. Into the last moult?</p> <p>I have attached the second movement. Here is a link to a photo of the bird himself!</p> <p>https://www.dropbox.com/s/5taaa4pw7knout1/Blackbird.JPG?dl=0</p> <p>&nbsp;</p> Sat, 01 Jan 2000 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1430 John Middleton 'The Word' - Oratorio - John Middleton http://www.composersalliance.com/composers/work.cfm?work=1431 <p>Based on John 1-10, this is effectively a prequel to the St John Passion. It is scheduled for performance at Loughborough Trinity Methodist Church at 19.30 on March 17th 2018.</p> <p>The music file is the first movement : The Word was in the beginning....</p> Sat, 01 Jan 2000 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1431 John Middleton Animal love - Song - John Middleton http://www.composersalliance.com/composers/work.cfm?work=1432 <p>&nbsp;My daughter, Rachael, who is a vet, wrote the poem for a friend&acute;s wedding. When it was read out by the author at the service, everyone kept a straight face!</p> <p>Of course, it means that we should learn from the noble qualities of animals.</p> <p>Loughborough male Voice Choir sang it in a concert at Loughborough Parish Church.</p> Sat, 01 Jan 2000 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1432 John Middleton The Robin - John Middleton http://www.composersalliance.com/composers/work.cfm?work=1467 <p>String quartet in three movements based on songs of the Robin:</p> <p>1. Free Spirits (several Robins singing in the bushes behind me, as I do morning exercises and whistle back at them) -somewhat atonal!&nbsp;<strong>see recording link to this movement</strong></p> <p>2. Man with a spade (I dig the garden whilst the birds flit around my feet, calling and occasionally bursting into song)</p> <p>3. The gardener sings (this is the composer making human music out of the Robin themes)&nbsp;</p> Sat, 01 Jan 2000 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1467 John Middleton TH Sonata - John Middleton http://www.composersalliance.com/composers/work.cfm?work=1468 <p>To mark the birth of grandson Thomas Henry Middleton (TH), a sonata in three movements which might be played by Anthony and Grace:</p> <p>1. Expectant (mother and child both expecting something)&nbsp;<strong>see recording link</strong></p> <p>2. Emergent (slowly looking round at the world)</p> <p>3. Interactive (with parents)</p> Sat, 01 Jan 2000 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1468 John Middleton Rothko by Moonlight - John Middleton http://www.composersalliance.com/composers/work.cfm?work=1470 <p>Erica asked me to compose a piano piece relating to her nocturnal river Soar paintings and Rothko&#39;s &#39;black&#39; landscapes, starting from the final chord in Beethoven&#39;s&nbsp;Moonlight Sonata. I was also thinking of Messiaen&#39;s Vingt Regards.</p> <p>A bit of boogie crept into it, before finally revealing a pivotal moment in the Moonlight Sonata.&nbsp;&nbsp;</p> Sat, 01 Jan 2000 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1470 John Middleton Alleluia from Latin mass 1994 - John Middleton http://www.composersalliance.com/composers/work.cfm?work=1276 <p>&nbsp;This very short piece is designed to be played/sung before and after a gospel reading. The recording was made at my son&acute;s wedding in St Albans.</p> Sat, 01 Jan 2000 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1276