Works for piano:

solo, 4 hands & piano + 1

  

Piano Solo

Agité III

piano.

1992 rev. 2000: 12 mins.

  

Agité III was originally completed in the early 1990’s, and premiered in that form by Haydn Reeder in 1993. It was comprehensively reworked in September 2000; this new version being premiered by Michael Kieran Harvey during the Federation Music Week Festival in Melbourne in September 2001.

Score Sample (PDF)

Michael Kieran Harvey

  

Akkord I

piano.

1997: 4 mins.

  

Akkord I was premiered by Danae Killian at the Richmond Town Hall, Melbourne in 1998 as part of the Melbourne Composers’ League ‘Mosaics’ series of concerts. Its US premiere featured Cory Smythe in New York in 2007.

  

Beyond Acheron

piano.

2001: 10 mins. 40 secs.

  

i) Hope nevermore...

ii) ...to rebehold the stars.

  

In Greek mythology, Acheron is one of the 5 rivers that separate the realm of Hades from the world of the living. It is the river of woe, across which Charon ferries the souls of the dead.

Beyond Acheron is in 2 movements, each taking its individual title from the Longfellow translation of Dante’s Inferno:

  

Canto III: lines 85 - 87

"Hope nevermore to look upon the heavens;

I come to lead you to the other shore,

To the eternal shades..."

  

Canto XXXIV: lines 136 - 139

"We mounted up, he first and I the second,

Till I beheld through a round aperture

Some of the beauteous things that Heaven doth bear;

Thence we came forth to rebehold the stars."

Score Sample (PDF)

  

Contretemps

piano.

2016: 3 min.45 secs. approx.

 

Contretemps is dedicated to Peter Dumsday, in recognition of his talent & commitment. It was premiered by him in Melbourne in December 2016.

  

Fracture

piano.

2009/2015: 27 mins. 40 secs. approx.

 

The handful of piano solos I'd written since (and including) the major revision of Agité III in 2000 were all - to a greater or lesser extent - related, and in 2010 I'd decided that four of them were sufficiently linked to combine quite well as a set, so the original Fracture came into being.

Over following months I became increasingly dissatisfied with this arbitrary construct, and in 2012 my thoughts turned again to the piano with a conviction to create a genuinely unified work. I chose  re-fract as the starting point and released the others to make their own way in the world. Later in 2012 Doublethink was completed, followed in 2015 by Shard : thus was Fracture in its present final form eventually (re)born.

All three works can be performed individually, or as part of the larger work.

i)   re-fract : 2009: 8 mins. 10 secs. approx.

ii)  Doublethink : 2012: 12 mins. 50 secs. approx.

iii) Shard : 2015: 6 mins. 40 secs. approx.

  

i) re-fract

piano.

2009: 8mins. 10 secs. approx.

  

re-fract:

re-: again, backward, intensify.

pref. [Middle English, from Old French, from Latin.]

fract: to break, to violate. [Obs]. Shak.

v.t. [L. fractus, p.p. of frangere to break.]

refract: to deflect from a straight path, to alter or distort

tr.v. [Latin refringere, to break up.]

  

"…to express the sensation of experiencing a disintegration of identity, a shattering of the self. This is what I mean when I speak of a poetics of refraction."

                            from "The fragmentary Muse and the poetics of refraction in Sappho,    Sophocles, Offenbach.

                                                                                                                                 by Gregory Nagy

  

re-fract was premiered by Michael Kieran Harvey at the Creativity Unlimited Festival, Sydney, on 01/09/2016.

Score Sample (PDF)

  

ii) Doublethink

piano.

2012: 12 mins. 50 secs. approx.

  

“…the labyrinthine world of doublethink. To know and not to know, …to hold simultaneously two opinions…knowing them to be contradictory and believing in both of them, to use logic against logic, …to forget whatever it was necessary to forget, then to draw it back into memory again at the moment when it was needed, and then promptly to forget it again...”

                                                            from 1984 by George Orwell (1903-1950).

  

"...The maelstrom of my memory is a vampire and it feeds on me;..."

                                           from A Plague of Lighthouse-keepers by Peter Hammill.

 Score Sample (PDF)

  

  

iii) Shard

piano.

2015: 6 mins. 40 secs. approx.

  

"…trying to put the broken mirror of memory back together from so many broken shards."

from Chronicle of a Death Foretold by Gabriel Garcia Marquez.

Score Sample (PDF)

  

Minutiae

piano.

2001: 1 min.

Complete Score (PDF)

  

Quicksand

piano.

2005: 7 mins. 15 secs. approx.

  

"...Quicksand years that whirl me I know not whither..."

                                  from Leaves of Grass by Walt Whitman (1819-1892).

  

"...I'm torn between the light and dark

Where others see their targets

Divine symmetry... "

  

"...I’m sinking in the quicksand of my thought,

and I ain’t got the power anymore..."

                                   from Quicksand by David Bowie.

  

Quicksand was premiered by Michael Kieran Harvey at the Iwaki Auditorium, Melbourne, on 21/8/2009.

Score Sample (PDF)

  

Repose

piano.

2014: 5 mins. approx.

    

Rift

piano.

2009: 7 mins. approx.

  

Piano 4 Hands

...a sneaking suspicion...

piano - 4 hands.

2002: 6 mins.

  

...a sneaking suspicion... calls for flair, precision, and a subtle sense of humour. 

 

Piano + 1

Alter(n)ations

piano, vibes.

2006 rev. 2012-14: 7 mins. 30 secs. approx.

  

Alter(n)ations began life in 2006 as a trio for vibes, piano and harpsichord, and was programmed for the debut concert of the Canadian ensemble Contemporary Keyboard Society. Although the concert duly went ahead, the premiere of Alter(n)ations was deferred on 'workload grounds' and later, on the departure of the percussionist from the group, suspended indefinitely.

  

In 2012 I attempted to re-ignite interest in the sadly neglected score, recasting it as a duo for piano and harpsichord. This initial reworking was likewise disregarded but, having decided that the material deserved the chance to find a proper home, I opted to create one last version - this time for piano and vibraphone. This final incarnation of Alter(n)ations was completed in October 2014 and has a duration of approximately 7 1/2 minutes.

  

...on the edges of a plan...

flute, piano.

2014: 6 mins. approx.

    

“Pinned my hopes on vanishing lands

Thought I could be caught like

Smoke with two hands, alive

I’m a Wanderer on the edges of a plan…”

         from The Wanderer, by A Lonely Crowd (Luke Ancell, Scott Ancell, Xen Havales)

  

...on the edges of a plan... was completed in March 2014, and is approx. 6 mins. long.

Score Sample (PDF)

 

Sinuosity

piano, glockenspiel.

2017: 5 mins. 45 secs. approx.

  

Split

Bb clarinet, piano.

1998: 5 mins.

  

split: v.t. to cut lengthwise; to cleave; to tear apart; to separate; to divide; - v.i. to break asunder; to dash to pieces; to betray a secret.

"Split is a high-energy work with great rhythmic intricacy. Flutter tongued notes, trills and strong chords, which are split into jagged and angular flourishes for both instruments, plunge us into a short but intense and dramatic sound world."

Robert Chamberlain [used by permission]

"Split can be described as an abstract but highly-charged modernist chamber work...derives much of its energy and continuity from short note values combined in irregular but active rhythms and gestures...one always senses a clear and consistent pitch structure..."

Thomas Reiner [used by permission]

Split was premiered by [pianist] Robert Chamberlain and [re-sound clarinettist] Paul Todd in Melbourne on October 17th, 2002.

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