Program - Composition Department Showcase

TRECNOC PMOC 1pm-2pm 28 April 2021 Ian Hanger Recital Hall Queensland Conservatorium Griffith University

A Lunch Time Concert of New Music

Program

The Queensland Conservatorium Griffith University acknowledges the original indigenous custodians of the land that we are gathered on here today, the Turrubul and Jagarra nations. We acknowledge elders past, present and emerging and acknowledge that this land was never ceded

Special thanks Gerardo Dirie and Clare Wharton for their assistance in organisation

Hannah Cheetham Butterflies in Spring for Flute and Clarinet Duet Butterflies In Spring is an attempt to capture the playfulness & character of butterflies. The piece plays with various fluttering and scalic patterns to create imagery of butterflies flapping and zooming from flower to flower.

Emma Percival The Rain Will Come for Vocal Quartet I had a very distinct emotion in mind that I wanted to convey when I began writing this piece; the feeling of reading a book under a blanket on a cosy day, just as it starts to rain and you know that you never want to rain to go away or life will move on from the perfect moment you have found yourself in. There are other sentiments that can be expressed in this piece from the lyrics, but that was purposeful, as I wanted the audience to be able to gain their own meaning from hearing this piece, rather than only hearing my personal interpretation. I have a feeling each listener will interpret it differently, and that is how I want it to be.

Tisguiden The Pace-eggers' Suite for Melodica, Trombone and Snare Drum

I - Players Enter, II - The Entrance of the Dragon, III - St. George and the Dragon fight (The Horrors of War!)

The Pace-eggers’ Suite was inspired by the British tradition of “pace-egging” (or mummery) where, on easter, boxing day, or New Year’s, amateur theatre troupes visit pubs, parks or peoples’ houses and perform plays involving popular folk characters. Characters such as St. George and Father Christmas are common staples, as are choreographed swordfights, and characters being revived by some sort of doctor or healer. In this suite, there will be depicted the musical equivalent of a mummer’s play, with swordfights, death, hammy acting, and a tongue-in-cheek self-awareness, with the aims to thrill, delight, and terrify.

Christina Bowden Usisahua for TTBB Vocal Ensemble and Percussion During this time of the Coronavirus, being separated from one another has been trying. We mustn't forget that, if looked for, love and hope are always present. This piece, Usisahua (Do not forget), is a Swahili influenced reminder that one mustn’t lose hope in tough times, we must keep loving and caring for each other.

Bobby C. H. Huen Nocturne No. 5 for Solo Piano This solo piano piece, being my fifth nocturne, was composed during 2020, as a dedication to a fellow HongKonger pianist and composer. It was inspired by a lot of things, a melting pot. It could be compared to his sister, my 4th Nocturne. I would say, it could be both described as a “dream”. Something that seems logical and familiar, but being elusive at the same time. Well, this is what our ideal life is isn’t it? The first theme, a roller coaster without screams, hidden behind the world of peace. Suggested by an audience, “twinkling stars at the top of sky cover”. Crossing over with the fear from behind, which happens to be blurry. Going through our hard work on the second theme, towards our ideal, seeing the flash of light that leads you from the forest to a secret garden of paradise. Once arrived, you lose your sense of consciousness, left with only a feeling of “painlessness”. Until you woke up, back to the beginning where you started looking for the world of utopia. Though this time, you ended up understanding… your true journey begins. The rest, or I should say, everything, should be interpreted by the audiences.

Ray Lin Inside the Dream for Violin and Piano “Inside the dream” was composed with a fixed pitch set of F, G, A, B, C#, D, and E, while no other pitches were used throughout. This idea underpins the depiction of a story where one inadvertently felt into a dramatic dream and was trying to escape but never succeeded until the dream fades out at the very end.

Cole Forfang Phan The Rencasters for Solo Piano Composed in 2020, “The Rencasters” was originally crafted as an orchestral piece but it has since been adapted to piano.

It tells the tale of a once-powerful royal family who begin to scheme and plot their way back to their rightful throne.

Always hiding in the shadows, they patiently await the moment to enact vengeance upon those who’ve wronged them.