Central Composers Alliance Works by Philip Joy 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. Philip Joy Composers Classical Music Philip Joy http://www.composersalliance.com/images/shops/189.jpg http://www.composersalliance.com/composers/index.cfm?composer=189 Philip Joy Fit for a King - Variation 10 - Philip Joy http://www.composersalliance.com/composers/work.cfm?work=1272 <p>This variation on the famous Welsh melody&nbsp;<a href="https://en.wikipedia.org/wiki/Sosban_Fach" style="font-family: Verdana; font-size: 8pt;"><b><i>Sosban Fach</i></b></a><i style="color: rgb(12, 27, 39); font-family: Verdana; font-size: 8pt;">&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> <!--[if gte mso 9]> 0 0 1 395 2253 Kingfisher Chorale 18 5 2643 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:15.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">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"><b>Dafydd ap Llywelyn&nbsp;</b></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-bottom:15.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none">The melody of&nbsp;<b><i>Sosban Fach</i></b>&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/"><b>&nbsp;Llanelli Rugby Union Club</b></a>&nbsp;and by internationally renowned performers such as&nbsp;<a href="http://www.onlyboysaloud.com/"><b>Only Boys Aloud</b></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">The whole story of the&nbsp;<b><i>Fit for a King&nbsp;</i></b>and the accompanying videos may be accessed by clicking&nbsp;<a href="http://www.composersalliance.com/home_feature.cfm?blog=52"><b>HERE</b></a>. Variation 10 of &lsquo;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 10 -&nbsp;<a href="http://www.composersalliance.com/composers/index.cfm?composer=189" style="padding: 0px; color: rgb(0, 83, 0); text-decoration: none;">Philip G Joy</a>:</b></p> <p class="MsoNormal"><em><strong>&quot;Liking the strong character of the theme and wanting to follow it quite closely I conceived of a scherzo based on the technique of octaves/overblowing combined with double and triple tonguing. I knew this would be exciting to listen to though very demanding to play. In order to permit a continuous pattern of repeated fast notes players would have to take turns in rapid conversation and with precision dovetailing. In this way there was also the possibility of a melody of intertwining instrumental colours. The final phrase utilises the deep registers and the last chord is a kind of neo-tonal&nbsp;<i style="color: rgb(13, 36, 51); font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px;">tierce de Picardie</i>.&quot;&nbsp;</strong></em></p> <p class="MsoNormal"><iframe width="560" height="315" src="//www.youtube.com/embed/uR-asw7_pFY?rel=0" frameborder="0" allowfullscreen=></iframe></p> <p class="MsoNormal" style="margin-bottom:15.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><b>[<a href="http://www.composersalliance.com/home_feature.cfm?blog=52">Left</a>]&nbsp;<a href="http://www.serenatawinds.co.uk/">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/"><b>University of Coventry</b></a>&nbsp;on the very day that HRH Prince George Alexander Louis of Cambridge was born.</p> <p class="MsoNormal"><b>[<a href="http://www.composersalliance.com/home_feature.cfm?blog=67">Right</a>]&nbsp;<a href="http://www.serenatawinds.co.uk/">Serenata Winds</a></b>&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/"><b>The Ark</b></a>, St Laurence Church, Alvechurch, Worcestershire on the evening of 5th April 2014.</p> <!--EndFragment--> Mon, 22 Jul 2013 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1272 Philip Joy Napoli '92! - Philip Joy http://www.composersalliance.com/composers/work.cfm?work=1167 <p><strong>This piece evokes the bustle of Naples experienced during a visit with my wife in 1992, when the first bars were composed at a piano in our apartment - although it has taken until latterly for the composer to develop the Neo-tonal style sufficiently to realize the whole piece.&nbsp;</strong></p> <p><strong>Amongst the bustling sounds the careful listener will even hear a snatch of Italian opera: as very early one morning my wife and I heard a street cleaner below our apartment (see photo below, a typical Neopolitan grilled gate and balconied apartment building), brushing in the dazzling sunlight, whistling Verdi!</strong></p> <p>For an essay on <strong>Neo-Tonal Harmony</strong> used in&nbsp;<strong><em>Napoli &acute;92!</em></strong>, click on <a href="http://www.composersalliance.com/composers/work.cfm?work=1227"><strong>Appendix 1</strong></a>.</p> <p>For a <strong>Linear Analysis</strong> of&nbsp;<strong><em>Napoli &acute;92!&nbsp;</em></strong>, click on <strong><a href="http://www.composersalliance.com/composers/work.cfm?work=1228">Appendix 2</a></strong>.&nbsp;</p> <p>For a <strong>Motivic Guide</strong> of <strong><em>Napoli &acute;92! </em></strong>click on <strong><a href="http://www.composersalliance.com/composers/work.cfm?work=1234">Appendix 3</a></strong>.</p> <p>For a&nbsp;description of a seminal lecture by composer Robin Holloway which set new directions for his own writing and enthused Philip Joy leading to <em><strong>&quot;All these notes&quot; - preparing the ground for neo-tonal harmony</strong></em>&nbsp;click here:&nbsp;<a href="http://www.composersalliance.com/composers/blog.cfm?blog=65" style="padding: 0px; color: rgb(0, 83, 0); text-decoration: none;"><strong>&quot;ALL THESE NOTES&quot; blog&nbsp;</strong></a></p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> Thu, 13 Jun 2013 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1167 Philip Joy Napoli '92! APPENDIX 1 - Philip Joy http://www.composersalliance.com/composers/work.cfm?work=1227 <p><em><strong>This is an informal harmony treatise for those interested in the Neo-Tonal Triad, what it is, and what it has to offer as an organizing principle of harmonic writing similar, yet uniquely different, to the traditional Tonic Triad.</strong></em></p> <p><a href="http://en.wikipedia.org/wiki/Neotonality"><strong>NEO-TONAL</strong>&nbsp;<strong>HARMONY</strong></a><strong>&nbsp;- a quick guide.</strong></p> <p>As <strong><a href="http://www.robinholloway.info">Robin Holloway</a></strong> once said: &quot;we have the freedom to use <strong><em><a href="http://www.composersalliance.com/composers/blog.cfm?blog=65">all these notes</a></em></strong>.&quot;</p> <p>By clicking on &acute;<strong><a href="http://www.composersalliance.com/music/189/Neotonal%20Harmonic%20Guide.pdf">Score</a></strong>&acute; you can read my essay on <a href="http://www.composersalliance.com/music/189/Neotonal%20Harmonic%20Guide.pdf">Neo-tonal Harmony</a> which I have written as a special appendix for this month:&nbsp;<strong><a href="http://www.composersalliance.com/music/189/Neotonal%20Harmonic%20Guide.pdf">APPENDIX 1</a>.&nbsp;</strong>&nbsp;It gives some harmonic insights into <em><strong><a href="http://www.composersalliance.com/composers/work.cfm?work=1167">Napoli &acute;92!</a></strong></em>, the work selected as my <strong><a href="http://www.composersalliance.com/composers/blog.cfm?blog=63">February 2014 CCA Composer of the Month</a></strong> feature.</p> Wed, 12 Jun 2013 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1227 Philip Joy Napoli '92! APPENDIX 2 - Philip Joy http://www.composersalliance.com/composers/work.cfm?work=1228 <p><!--[if gte mso 9]> 0 0 1 48 277 Kingfisher Chorale 2 1 324 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--> <!--EndFragment--></p> <p class="MsoNormal">By clicking on &acute;<b style="mso-bidi-font-weight:normal"><a href="http://www.composersalliance.com/music/189/Three%20lined%20Schematic.jpg">Score</a></b>&acute; you can read&nbsp;<b><a href="http://www.composersalliance.com/music/189/Three%20lined%20Schematic.jpg">APPENDIX 2</a>&nbsp;</b>of&nbsp;<a href="http://www.composersalliance.com/composers/work.cfm?work=1167"><b><i>Napoli &acute;92!</i></b></a><b><i>&nbsp;</i></b>which is&nbsp;my&nbsp;<a href="http://en.wikipedia.org/wiki/Schenkerian_analysis">Schematic (Linear) Analysis</a>&nbsp;of&nbsp;the Neo-Tonal progessions in the work selected for my&nbsp;<a href="http://www.composersalliance.com/composers/blog.cfm?blog=63"><b>February 2014 CCA Composer of the Month</b></a>&nbsp;feature. Use this analysis, in conjuction with the thematic analysis, as you listen to the work, to follow the tonal areas, the harmonic progressions and modulations.</p> Tue, 11 Jun 2013 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1228 Philip Joy Napoli '92! APPENDIX 3 - Philip Joy http://www.composersalliance.com/composers/work.cfm?work=1234 <p><strong>Here Philip provides a thematic guide to the motifs and their development in Napoli &acute;92, as well as some observations on the compositional process and what he learnt from other composers.</strong></p> <p><strong>He explains here how he came to a full-stop in 1992 after creating only the first first phrase, and how his development as a composer enabled him to find the desired continuation 21 years later!</strong></p> <p><strong>&nbsp;</strong></p> Mon, 10 Jun 2013 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1234 Philip Joy There is no-one like the God of Jeshurun - Philip Joy http://www.composersalliance.com/composers/work.cfm?work=1097 <p>This anthem was composed in response to a personal challenge to make the Neo-Tonal style as capable of expressing the glory and beauty of God as traditional tonal styles.</p> <p>Listen to the music with the score open as simulation technology does not yet permit &nbsp;virtual choirs to sing actual words!</p> Thu, 03 Jan 2013 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1097 Philip Joy Seeking Stillness - Philip Joy http://www.composersalliance.com/composers/work.cfm?work=1095 <p>First performed by the composer in a concert of unaccompanied cello music in Buttsbury Church in 2012.</p> <p>The programme of the work is as follows:</p> <p>&quot;An agitated person arrives outside the church seeking stillness. Her mind is full and overclocked, thoughts restlessly moving from one thing to another. She opens the door which clunks shut behind and enters immediately into an environment of peace and solitude; &nbsp;her mind has space to soar and settle, and all the stressed-out thoughts which previously troubled her find a new place and resolution in the atmosphere of harmony and quietness in this ancient church.&quot;</p> Fri, 18 May 2012 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1095 Philip Joy An Easily Associated Symphony - Philip Joy http://www.composersalliance.com/composers/work.cfm?work=1096 <p>This skittish work is due to be performed in 2013 by the Wymondham Youth Orchestra. It is in four movements, based on the idea of an Associated Board Grade Exam:</p> <p>I. Piece&nbsp;</p> <p>II. Scales</p> <p>III. Aural Tests</p> <p>IV. Sight Reading</p> <p>&nbsp;</p> Sat, 31 Dec 2011 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1096 Philip Joy Ex Libris (live performance) - Philip Joy http://www.composersalliance.com/composers/work.cfm?work=1409 <p><b style="color: rgb(13, 36, 51); font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 10.88px;"><i>Ex Libris Aureis</i></b>&nbsp;for orchestra was written in memory of Robin Golding and first performed by Lavenham Sinfonia in 2011. A note in the score gives this programmatic description: &ldquo;<i style="color: rgb(13, 36, 51); font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 10.88px;">As we gaze up the central aisle, the beautiful library is full of mystery and strange objects. Our eyes see bay upon bay, row upon row, shelf upon shelf of aged gilt-writ volumes, rich with cultural heritage. Yet the library is not empty. A woman sits turning pages, and a man, fretting with busy study, takes down volume after volume, going back and forth in the course of his creativity. And as we ourselves reach down a great tome, open and read, we share Keats&rsquo; experience upon first opening Chapman&rsquo;s Homer, as the glory of new vistas bursts forth upon our consciousness</i>.&rdquo;</p> Mon, 05 Sep 2011 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1409 Philip Joy Ex Libris Aureis - Philip Joy http://www.composersalliance.com/composers/work.cfm?work=1094 <p><!--[if gte mso 9]> 0 0 1 112 645 Kingfisher Chorale 5 1 756 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> <p class="MsoNormal"><b><i>Ex Libris Aureis</i></b> for orchestra was written in memory of Robin Golding and first performed by Lavenham Sinfonia in 2011. A note in the score gives this programmatic description: &ldquo;<i>As we gaze up the central aisle, the beautiful library is full of mystery and strange objects. Our eyes see bay upon bay, row upon row, shelf upon shelf of aged gilt-writ volumes, rich with cultural heritage. Yet the library is not empty. A woman sits turning pages, and a man, fretting with busy study, takes down volume after volume, going back and forth in the course of his creativity. And as we ourselves reach down a great tome, open and read, we share Keats&rsquo; experience upon first opening Chapman&rsquo;s Homer, as the glory of new vistas bursts forth upon our consciousness</i>.&rdquo;</p> <!--EndFragment--> <p>&nbsp;</p> Wed, 21 Jul 2010 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1094 Philip Joy Nos Homines - Philip Joy http://www.composersalliance.com/composers/work.cfm?work=1110 <p><em><strong>Nos Homines</strong></em> is Latin for &nbsp;&acute;us humans/us mortals&acute; (traditionally &acute;us men&acute;) and is a phrase from the Nicene Creed. It is a programmatic symphonic movement which is the first part of a projected multi-movement work called <em><strong>Et Incarnatus</strong></em>, for Harp and Strings, based on the central Christological story. Whereas <em><strong>Nos Homines</strong></em> speaks of the human condition (the creed says: &quot;who &acute;for us men came down from heaven&quot;) the remainder of the project deals with crucifiction, resurrection and ascension. Thus Nos Homines is a standalone work since the Harp solo (representing Christ) does not appear until the second movement of the project.&nbsp;</p> <p><em><strong>Nos Homines&nbsp;</strong></em>is illustrative of the human condition<em><strong>&nbsp;</strong></em>and<em><strong>&nbsp;</strong></em>deals with both our darker side - sin, suffering and the burdensome struggle of existence: as well as the sense of striving for something better which is also part of our make-up. It ends, however, on an uncompromisingly subdued note.</p> Tue, 17 Jun 2008 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1110 Philip Joy Retro Variations - Philip Joy http://www.composersalliance.com/composers/work.cfm?work=1111 <p>The first bar of the theme from this miniature cello concerto (loosely imagined as a contemporary Rococo Variations) just wouldn&acute;t go away! So I wrote it down, old fashioned though it was, and Retro Variations was the result.</p> <p>A short orchestral refrain opens the piece and the light, graceful retro-sounding theme is announced in the cello. Each of the seven variations are preceeded by this refrain and each takes a tiny fragment of the theme as its basis. Each variation features a cadenza, and there is a central slow section to the work. A final coda features a miniature reminder of each variation.&nbsp;</p> <p>&nbsp;</p> Tue, 06 Nov 2007 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1111 Philip Joy Melisma - Philip Joy http://www.composersalliance.com/composers/work.cfm?work=1091 <p>The first movement of a planned quartet this is nevertheless a fine standalone piece with its bubbling, trancelike melodic stream.</p> Sat, 01 Jan 2005 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1091 Philip Joy Discourse - Philip Joy http://www.composersalliance.com/composers/work.cfm?work=1090 <p>&nbsp;First performed at Lyddington in 2004 by the Turner Ensemble</p> <p>Eleanor Turner, Roger Own and Rowena Calvert</p> Thu, 01 Jan 2004 00:00:00 GMT http://www.composersalliance.com/composers/work.cfm?work=1090