The Hugh Lane Gallery

Charelmont House, Parnell Square N, Rotunda, Dublin 1, D01 F2X9
Ireland

Sundays At Noon

Programme: 
Barry O Halpin: New Work [world premiere]
Unsuk Chin: Advice from a Caterpillar
Anna Clyne: Fits +Starts 
Barry O Halpin:  Lipids 

Concerts on Sundays at Noon

The Sundays @ Noon Concert Series takes place in the beautiful Sculpture Gallery at the Hugh Lane Gallery.

This series of free weekly concerts continues to present the best of Irish and International music and musicians.

Admission is Free.

The series is funded by Dublin City Council and grant aided by The Arts Council

[email protected]



Sunday, 8 April 2018

PROGRAMME

Sam Perkin - WORD FOR WORD [WORLD PREMIERE]

Grainne Mulvey – Perihelion/Aphelion

Sam Perkin - PIM 

Judith Ring – Up to my f-holes

Brian Bolger – Hicaz [WORLD PREMIERE]


ABOUT THE MUSIC

Grainne Mulvey - Perihelion/Aphelion (2012)

Perihelion is the point in the orbit of a planet, comet, or asteroid that is nearest to the sun.  The meaning stems from the Greek words, “peri” meaning “near” and “hellion” meaning “sun” Aphelion is when the orbit is furthest away from the sun. The various textures and timbres present a collage to covey these states and the piece is based on harmonic series. The tape part is derived from material sourced from a collection of pre-recorded violin sounds with some added bell sounds for resonance.

This piece is dedicated to Barbara Lueneburg, who gave the first performance in July 2012. - Gráinne Mulvey.

Sam Perkin - NEW WORK (2018) [WORLD PREMIERE]

Part of a collection of pieces inspired by language, this new work will explore the rhythms and contours of different human languages, from Spanish and English, to German and Japanese. - Sam Perkin

Sam Perkin - PIM (2018)

Originally written for E.Ch.O. Collectif in Lyon, France, this piece was subsequently re-composed for cellist Kate Ellis.  From an oblique angle texturally, the piece explores the moments before sleep - from concrete, rigid thoughts, gradually to a more flexible, soft state of mind.  Once the rhythm of sleep is found, it is a pleasure to be in its groove. - Sam Perkin

 

Judith Ring - Up to my f-holes (2008)

Up to my f-holes was written for cellist Laura Moody. Recordings were made of the musician exploring her instrument in imaginative ways. The resulting sounds were composed into a tape part that provides an exciting accompaniment to the energetic live part. The performer is free to interpret the score in an individual manner by embellishing the timbre to blend and/or contrast with the tape part. - Judith Ring

 




 

PAUSE: Jonathan Nangle

Dublin composer Jonathan Nangle’s transcendent music for strings comes to life in the surrounds of The Hugh Lane Gallery by Crash Ensemble, Ireland’s leading ensemble for adventurous new music. Pause is the debut album from a composer whose work draws on a carefully selected palette of ravishingly beautiful materials. is is music of serene focus; often fragile, always intricately woven. The album in its entirety will be performed at the Sundays @ Noon series.

In Where distant city lights icker on half-frozen ponds (2011), Nangle enhances a solo violin with electronic resonators which subtly colour the musical material like a heat shimmer. My heart stopped a thousand beats (2008) is a slow ritual for viola and cello, unhurriedly unfurling into a series of fragments.

The mercurial title track, Pause (2015), was inspired by the idea of data glitches in both music and visual media. A snippet of music by early twentieth-century American composer Charles Ives is processed, rearranged and deliberately glitched, serving as as a springboard to new material. The two Fragment tracks also featured on the album are short improvisations on passages that occur within Pause – reflections of fleeting images.

The album closes with Tessellate (2016) for cello and electronics, inspired by the phenomena of tessellations, where a shape is repeated over and over again, covering a plane without any gaps. Here, Nangle works with skewed repetition to create a feeling of inevitable groove, at once highly compelling and ungraspable.