Antoine Beuger’s ‘Ockeghem Octets’ (2005), played by Ryoko Akama (melodica), Seamus Cater (concertina), Kate Halsall (harmonium), Sarah Hughes (e-bow zither), Ecka Mordecai (cello), Harriet Richardson (flute), Leo Svirsky (accordion) and Kathryn Williams (alto flute). CD release on Another Timbre, June 2017, http://www.anothertimbre.com
Released on Metier in 2016, Miniaturised Concertos | Maché commissioned composers: Colin Riley, Katharine Norman, Andrew Poppy, Philip Cashian, Naomi Pinnock. The music for two pianos incorporates video, text, improvised/notated material, extended techniques, ghost pianos and resonating objects, ensemble and electronics. There are 17 Maché short pieces, forming a multi-composer series of remixed ‘concertos’, taking material from calls for scores and developing ideas and interpretations with pianists Kate Halsall, Fumiko Miyachi, Marjolaine Charbin and Martin Butler and Rachael Ueckermann.
Quantulum (2012) for acoustic piano duo, commissioned 6 emerging female composers working with spoken word, sonic manipulation, improvisation and extended techniques and was supported by Arts Council England and Aldeburgh Music. Music by Kerry Andrew, Ailís Ní Ríain, Christine Abdelnour, Yuko Ohara, Elo Masing and Helena Gough.
A small quantity is sometimes referred to as a quantulum. We explored the musical influence of its existence in opposing proportions from small to great: ‘quantity is a property which exists as magnitude or multitude’. We felt there was something very appealing within these descriptions which could influence the music we wanted to create with composers and explore, relating to change, opposites (such as heavy/light, long/short, broad/narrow, much/little) and that a quantity is a fundamental term, with the quantulum being present at all times but in a state of mutability.
Commissioned pieces by UK composers Duncan Macleod, Andrew Morgan, Colin Riley, Jamie Telford and Peter Wiegold, Triple Point is released on Squeaky Kate Music.
The triple point of a substance is the temperature and pressure at which three phases (for example, gas, liquid and solid) of that substance coexist in thermodynamic equilibrium. Our interpretation explores these elements through a combination of acoustic, electronic, sequenced and prepared sounds. Released 2010.
Skin and Wire released January 1, 2009 Music by Colin Riley
Pianos/keyboards: David Appleton, Adam Caird, Kate Halsall, Semra Kurutaç (Piano Circus)
Bass guitar: Julian Crampton
Drums and percussion: Bill Bruford
Programming: Colin Riley
‘Energetic and at times downright cheeky … as accessible as it is intellectual and as felt as it is thought’ Andy Robson, Jazzwise, 2009
‘Restless, intricate rhythms … absorbing and gently hypnotic. The avant garde shows its happy face.’ John Bungey, The Times, 2009