Orchestra

SKU: BT.MUSM570366699

Composed by Ed Hughes. Score Only. 62 pages. University of York Music Press #MUSM570366699. Published by University of York Music Press (BT.MUSM570366699).

English.

Le Voyage Dans La Lune is a continuous orchestral score of approximately 14 minutes comprising two outer fast sections and a slower inner section of a dream-like character. The work is directly inspired by the film Le Voyage Dans La Lune (1902), written and directed by the pioneering French film-maker, Georges Méliès. Méliès was influenced by 19th century interests in science and discoveries, as well as the science fiction of Jules Verne. At the same time his work seems fantastic, surreal and satirical. Some critics point out an underlying critique of colonial adventuring. The plot centres on a group of astronomers who decide to launch a rocket to the moon containing a handful of their number. They reach the moon (famously landing on the moon’s face) and then encounter a strange race of aliens, whom they battle and destroy. The return to earth involves a dramatic descent, a plunge into the ocean and then celebratory dancing. The film inhabits a surreal and dream-like space, and uses an idiosyncratic visual language which transforms reality. This inspired an active musical response in my own score, which is by turns abrupt, smooth, lyrical and violent, and expresses something of the strange shifting surfaces and multiple and layered tempos evident in the film. The canons in the horns in the first scene reflect the intense arguments of the astronomers as they consider the project. The slower inner section is inspired by the scenes of the industrial City viewed from its rooftops by the astronomers. It also expresses the wonder of the astronomers as they see the earth rise from the perspective of the moon after their arrival there. The music of the final section is in places conflicted, reflecting the violent encounters with the moon’s inhabitants. It moves into a more harmonious phase at the close to match the celebrations upon the astronomers’ return from their adventuring. The music could be considered to be a surreal mini-opera without voices, voicing instead the characters of the silent screen. - Ed Hughes.

Orchestra

SKU: BT.MUSM570366712

Composed by Ed Hughes. Classical. Study Score. 62 pages. University of York Music Press #MUSM570366712. Published by University of York Music Press (BT.MUSM570366712).

English.

Le Voyage Dans La Lune is a continuous orchestral score of approximately 14 minutes comprising two outer fast sections and a slower inner section of a dream-like character. The work is directly inspired by the film Le Voyage Dans La Lune (1902), written and directed by the pioneering French film-maker, Georges Méliès. Méliès was influenced by 19th century interests in science and discoveries, as well as the science fiction of Jules Verne. At the same time his work seems fantastic, surreal and satirical. Some critics point out an underlying critique of colonial adventuring. The plot centres on a group of astronomers who decide to launch a rocket to the moon containing a handful of their number. They reach the moon (famously landing on the moon’s face) and then encounter a strange race of aliens, whom they battle and destroy. The return to earth involves a dramatic descent, a plunge into the ocean and then celebratory dancing. The film inhabits a surreal and dream-like space, and uses an idiosyncratic visual language which transforms reality. This inspired an active musical response in my own score, which is by turns abrupt, smooth, lyrical and violent, and expresses something of the strange shifting surfaces and multiple and layered tempos evident in the film. The canons in the horns in the first scene reflect the intense arguments of the astronomers as they consider the project. The slower inner section is inspired by the scenes of the industrial City viewed from its rooftops by the astronomers. It also expresses the wonder of the astronomers as they see the earth rise from the perspective of the moon after their arrival there. The music of the final section is in places conflicted, reflecting the violent encounters with the moon’s inhabitants. It moves into a more harmonious phase at the close to match the celebrations upon the astronomers’ return from their adventuring. The music could be considered to be a surreal mini-opera without voices, voicing instead the characters of the silent screen. - Ed Hughes.

Piano Quintet

SKU: BR.EB-9399

Hommage a Schubert. Composed by Christian Mason. Chamber music; stapled. Edition Breitkopf. Music post-1945; New music (post-2000). Score and parts. Composed 2020. 72 pages. Duration 15'. Breitkopf and Haertel #EB 9399. Published by Breitkopf and Haertel (BR.EB-9399).

ISBN 9790004188736. 9 x 12 inches.

One of my favourite pieces of music as a child - and I still love it - was Schubert's Trout Quintet. It was partly the wonderful music, of course, so light-hearted and joyful on the surface, yet with twists and turns and murky depths of feeling too. But I also liked the picture of a trout on the album sleeve - such beautiful creatures! Last year, while resident at the Villa Concordia in Bamberg, as I took daily walks along the Regnitz river, I observed the trout as they calmly hovered and swayed in the shallows... But if they felt my shadow they were gone in a split second! If you ever get a chance to look closely at brown trout you see that they are covered in myriad brown/red spots of varied sizes; camouflage I suppose. Now those patterns seem to be mixing in my mind with the shifting colours of the spectral arpeggios that flow through this little piece. It's a watery piece, with rippling waves, shimmering surfaces and textural veils around the melodies which flow through it. But it also takes inspiration (and it's title) from a Pablo Neruda poem: the third stanza of Every Day You Play includes the line The sky is a net crammed with shadowy fish. There's no singer, but I imagine an invisible or imaginary voice somewhere behind (or beyond) the music, and so the score includes a melodic setting of the text. Even though this is not performed by a voice, the melody is always played by the ensemble - especially high register cello - making the piece something like the inverse of a song without words. (Christian Mason)

World premiere: Aix-en-Provence, October 16, 2020 Commissioned by the Grand Theatre de Provence - Aix-en-Provence.