Featuring compositions by Glen Charles Halls, for piano, orchestra, flute, cello, and electroacoustic. Piano performances are also by Glen Halls.
Deeksha Records DK 116
Mondrians Gambit: Audio Samples
|Study in Harmony
|Temple of Byzantium
|There is Hope
|Variations for String Trio, part 1
|Variations for String Trio, part 2
|Winter-Gentle Dark||2:34||Listen Here|
Mondrian's Gambit: Album Information
All compositions by Glen Charles Halls, and registered with SOCAN.
Afterthoughts (8:01) Composed
in 1998 and performed by Flautist Barb Ackerman. Recorded in
Barber Pole (4:48) The
piano voicings change by voice leading as the outer voices ascend
and descend. (2014)
Hazel Eyes (1:46) Composed
in 2014, This is basically a jazz composition, with great harmonies.
4. Holy Child (1:59)
Joyful Evening-late conception 6 (4:53) An
improvisation, with a structure. It is based on a drone, and the
improvisation seems to play with imagined partials high above the
drone, creating a rich, harmonics filled texture. 2014.
Lisa Fugetto (2:05)
A dissonant counterpoint fugue using a conventional 'bach style'
fugue form. Composed in 2014.
Minor Ninth Inversion Canon (1:59) A
colleague once remarked to me that minor 9ths are 'not to be used'
in music, because they were a 'noise' ! So I thought it
would be fun to use a minor 9th as the transposition interval for
this canon. I've always loved dissonant counterpoint
anyways, like Early pre 12 tone Schoenberg, Bartok, and also the
Norwegian composer Fartein Valen.
Mondrian's Gambit (9:16)
Composed in 1993 and performed here by Martin Bonham, this
explosive and virtuosic cello composition won first prize in the
1993 SOCAN young composer's competition. The reference to
Mondrian lies in the notion of complement as opposed to symmetry,
and in the work arching lines often occur, where the second half
of the phrase is a complement to the first, and is almost composed
from a visual, constructivist-cubist perspective.
Progression Meditation (21:16) In
this beautiful yet experimental work a series of arpeggiations
occur, each played twice in a row. In each sonority, at
least 2 tones remain the same, and the main drone tone is maintained
throughout the entire composition, though often concealed as an
inner voice. No chordal sonority is repeated later in the piece.
Since each chord is played, then played again directly
after, the mind looks backward rather than forward, dwelling in
the sameness and the fusion of harmonics above the drone, often
obscured within the sonority. Then the chord changes
slightly, and we note the change, and note the sameness. So there
is movement, and yet stillness. There is progression and there is
meditation at the same time. One might draw comparisons to
some of the compositions, or at least the basic 'vibe' of some of
Morton Feldman's music. Progression Meditation was composed
in 2006 and originally released on the album "Progression
may seem like a long song, and one might suggest playing each
chord only once, with no echo, but that would basically ruin the
meditative/reflective/passive perceptual aspect that the
composition is trying to explore, so it must be this way, even if
it is too long for radio.
Senjo (2:02) An
excerpt from a short orchestral tone poem, Senjo is a Japanese
word with multiple meanings, but can mean a gentle warrior's
posture, and is associated with martial arts and ceremony.
The Japanese composer Toru Takemitsu is a major influence on this
11. Study in Harmony (7:14) Composed in Toronto in 2002, in this experimental electroacoustic work we hear the continuous microtonal transformation of a drone texture. Specifically it is the sound of consonant intervals in a very very slow portamento to different registers. The mental concept here is one of timelessness, 'what would musical sound be like in a non-linear time field? "
Temple of Byzantium (3:56) This
work might be reminiscent of a couple of the Debussy Piano
preludes. 2014. Built with a combination of 4th/quartal and whole
There is Hope (4:57) Jazz
composition really , composed in 2002, but played with the poise
of a classical work.
Variations for String Trio-part 1 (8:10) Composed
in 1993 and finalist in the 1993 Olympia international composition
competition in Athens Greece.
Variations for String Trio-part 2 (9:30)
Winter-Gentle Dark. (2:34) This
sparse piano work might remind of Weberns piano variations Op. 27,
and also reflects some of the influence of Messiaen.
Piano Sheet Music for Most of songs here can be found at freejazz.ca and follow the links.
- Produced by Glen Charles Halls
- DK116 Released in 2014
All composition by Glen Charles Halls SOCAN.