electroacoustic composer

Mind Games (2006), for soprano, marimba, tape and live electronics.

I Lunar Maze

II Dance on Glass

III Crypt(ic)

Mind Games comprises three movements for soprano, marimba, live processing using Max/MSP, and acousmatic sound. It was premiered by Lisa Swayne (soprano) and Alastair Clarkson (marimba) as part of the RSAMD's contemporary music festival, 'Plug', in May 2006.

Scroll down to listen to an mp3 excerpt from the beginning of Lunar Maze.

The piece takes as its basis the concept of mental illness, particularly its portrayal in literature, traditional symbols being the moon, shattered glass and fire. The strong identity of the tape material, including samples of glass smashing and a wood-burning fire underpins this imagery. Through the unsettled roles of the voice and the marimba and ambiguous sources of sounds, puzzled identities and insecurities are gradually revealed throughout the three movements. The relationship between the marimba and the voice is significant Ð the listener is left to decide whether the marimba is independent, or yet another alter ego of the soprano.

The fragments of text originate from a variety of sources - plays, prose, and poetry. These include two plays by Sarah Kane, 'Crave' and '4.48 Psychosis', (which deals directly with the issue of mental illness and provided the majority of text). 'The Moon and the Yew Tree' by Sylvia Plath, 'Wide Sargasso Sea' by Jean Rhys, 'Paradise Lost' (John Milton), amongst others. There are also technical descriptions regarding the moon and lunar phases, and names of medications prescribed for mental illness.

Lunar Maze introduces the idea of tension and unease which is present throughout the work. This is possibly the most melodic, and consequently more stable, of the movements.

Hatch opens. Stark light the light is blue rima dorsa rupes dorsum rima mairan lunar catena noonday demons last quarter waxing crescent first quarter waxing gibbous full moon dark moon last quarter waning gibbous waning crescent new moon why are you laughing such orbital eccentricity cold and planetary the trees of the mind are black the light is blue

Although seemingly symmetrical in structure, Dance on Glass represents a turning point in the role of both singer and marimba. More extreme sounds are introduced, and the marimba writing begins to display violent tendencies.

Moping melancholy moonstruck madness orbital eccentricity here there body soul noonday demons ecliptic watch me vanish body and soul can never be married here I am and there is my body dancing on glass true right correct false dab flicker punch slash wring float flash cry burn press my mind's a blank addicted oh no true no false no right no correct stop dancing on on glass dance

In Crypt(ic), the soprano adopts a more violent and abstract persona, with dramatic spoken and uttered text used more frequently than conventional sung material. The marimba warps and mutates beyond recognition and the performers become seemingly out of control. However, following this release, the work draws to a close with implications of frailty and vulnerability.

addicted to sickness and this is the rhythm of madness 100 lofepromine 45 zopliclone 25 temazepam 20 melleril 45 clozapine 55 olazapine 16 risperidone 20 quetiapine 85 ziprasidone 70 milligrams then 140 milligrams then 210 milligrams then and the sky so red the stain of a scream yet from those flames no light but rather darkness visible watch me vanish the orchids and the stephanotis and the jasmine and the tree of life in flames nothing thicker than a knife's blade [separates happiness from melancholy] don't touch

With thanks to Christopher Edwards for his marimba performance in the tape part.

Excerpt from the opening of Lunar Maze: