SCORES & FURTHER INFORMATION:

Peruse a catalogue of full scores (PDF.) by clicking HERE

another binewski
(for voice & small chamber ensemble )
INSTRUMENTATION:
Mezzo-soprano
Clarinet in Bb
Violin
Cello
Synthesized voice
DURATION:
ca. 3'30"
Commissioned by Hebrides Ensemble for the 'Last Lines' project at Edinburgh International Book Festival
Premiered by Hebrides Ensemble 26.08.19
 
 
Toodle oodle
(for voice & small chamber ensemble )
INSTRUMENTATION:
Mezzo-soprano (doubling handheld percussion)
Clarinet in Bb
Violin
Cello
DURATION:
ca. 2'
Commissioned by Hebrides Ensemble for the 'Last Lines' project at Edinburgh International Book Festival
Premiered by Hebrides Ensemble 26.08.19
 
wood.pulse
(for solo bassoon)
INSTRUMENTATION:
solo bassoon
DURATION:
ca. 5'
written for Psappha Ensembles 'Composing for...' Scheme.
Recorded by Ben Hudson 13.05.19
CLipping
(for solo timpani and field recording)
INSTRUMENTATION:
4 timpani
stereo field recording
DURATION:
ca. 10'30"
Clipping takes disturbance or interference of everyday moments of tranquillity as its starting point. The field recording was made without foam windscreens on the microphones, and the recorder’s input level was set high enough to enable any significant gust of wind to cause the recording to distort digitally (a sound almost exclusively associated with ugliness or poor audio practice). This results in harsh interruptions to the ambient environmental sounds. The performer has to react to and mimic the contours of these interruptions, using a small variety of prescribed playing methods and largely relying on their improvisatory intuition. The extracted ten minutes of audio are unedited and provide the fixed temporal framework for the timpanist’s actions.
 
 
Apertures
(for solo clarinet in Bb)
INSTRUMENTATION:
solo clarinet in Bb
DURATION:
ca. 5'30"
Apertures are gaps or openings that allow light to pass through an optical system. Whether considering photography or the pupil of a human eye, wider apertures usually result in sharper, more clearly defined images, whilst narrow apertures can result in faded, dark or blurred resolution. The muted and fragile imperfections of an image that arise when light passes through a narrow aperture, and the idea of obstructions or blockages to the passage of light, which temporarily obscure or distort the image were the starting points for this piece.

... score currently unavailable ...

 
Attach
(for orchestra)
INSTRUMENTATION:
2(II=picc.),2,2,2,2 alto sax - 2,2,1(bass) - strings - perc.(drum kit, finger cym., octachime, 2 rototoms)
DURATION:
ca. 7'30"
commissioned by Nevis Ensemble for their inaugural tour of Scotland in August 2018.
The starting point for Attach was ‘Circles in a Circle’ (1923), a work by the Russian painter Wassily Kandinsky. Referring to this composition, Kandinsky wrote, “The circle is the synthesis of the greatest oppositions. It combines the concentric and the excentric in a single form, and in balance." I started to think about how the communities that we all belong to are in some ways exponents of “the greatest oppositions” that Kandinsky refers to. On the one hand these small communities and their comprised individuals tend to strive for independence and may espouse a collective set of opinions, beliefs or a sense of pride. In summary, there is a desire to have their unique voices heard. On the other hand, these communities may also aspire to feel like a microcosm of society in broader terms. They may want to feel connected to neighbouring communities and ultimately feel like their voices can be aligned, strengthened and united with the voices of surrounding communities. The ebb and flow of these opposing states heavily impacted the way I thought about organising the orchestra and eventually manifested into four distinct groups of musicians. The physical spatialisation of the groups was loosely informed by ‘Circles in a Circle’, and organised to situate three chamber-sized groups within a large circle of string players. I was interested in the resultant interactions between each group’s musical material and whether they try to have their individual voices heard or contribute towards the voice of one larger entity.
Attach (2 excerpts performed by Nevis Ensemble) - Matthew Grouse
00:00 / 00:00
 
pressed Steel
(etude for electric guitar)
INSTRUMENTATION:
solo electric guitar
DURATION:
ca. 3'
Written for Yaron Deutsch's electric guitar etude project at the Darmstadt Summer Courses (2018)
Pressed Steel (performed by Sean Rogan) - Matthew Grouse
00:00 / 00:00
The periphery archives
(Amplified ensemble and fixed media)
INSTRUMENTATION:
Amplified ensemble, soundtrack and video
Mezzo Soprano
Viola
Violoncello
Piano
1 Percussionist
(. Shaker, tambourine, susp. crash cymbal
 . 2 woodbl., 2 bongos, 2 congas
 . Snare {w/ single hi-hat on skin for mvt. III}, low floor tom, kick bass drum )
DURATION:
ca. 20'
Mvt. I - Go With Me Somewhere
Interlude I - February 16th
Mvt. II - In the Shadow of Ms Lincoln
Interlude II - 9 Mementos for Siblings
Mvt. III - Threads
 
The Periphery Archives (5 live excerpts) - Matthew Grouse
00:00 / 00:00
 
A Crowning Insult
INSTRUMENTATION:
Amplified ensemble:
Clarinet in Bb
Violin
Cello
Harp
Electric Bass
DURATION:
ca. 7'30"
Sometimes the moments that I would expect to feel wholly precious or blissful seem tainted or coloured by something unpleasant. At times, the source of this contamination feels difficult or even impossible to understand or pinpoint. My recent experiences of this were a starting point for A Crowning Insult.
 
Afterimages
INSTRUMENTATION:
Bassoon
2 synthesizers (synth. 2 is a 1/4 tone flat)
Live electronics
DURATION:
ca. 7'
An afterimage is an optical illusion where your eyes / brain continues to process remnants of an image even after a lengthy exposure to the original image has ended. This can be either a physiological phenomenon or a pathological one, whereby exaggerated mirages or blurred residue can appear as a result of the visual stimulus.
unwaxed
INSTRUMENTATION:
2 flutes (II=picc.)
2 oboes
2 clarinets (I=Eb, II=Bass)
2 Bassoons (II db. cbsn,)
2 Horns in F
2 Trumpets in Bb
Timpani
8 violin I
6 violin II
4 viola
4 celli
2 double basses
DURATION:
ca. 7'30"

 
Wine lips
INSTRUMENTATION:
Piccolo
Clarinet in Bb
Violin I
Violin II
Viola
Violoncello
DURATION:
ca. 6'
Written for 'The Assembly project' and the ST Magnus Festival Composer's Course.
 
A good deal of my recent music has been imbued with a relatively sombre or dense atmosphere. The character of this work attempts to escape this and look at ideas of naivety and vulnerability. I have also been increasingly interested in more unconventional ways of structuring my music. In Wine Lips, I engage with the idea of moments appearing and passing with little development, which aligns with my interest in the more unremarkable parts of everyday life.

 
Wine Lips (excerpt of the final 2 minutes) - Dias Ensemble - Matthew Grouse
00:00 / 00:00
 
coming through
the firmament
INSTRUMENTATION:
string quartet
DURATION:
ca. 3'

‘Coming through the firmament’ was written for a workshop with the Gildas Quartet as part of the St Magnus Festival 2017. The stimulus for the piece is a poem, ‘Drift Off’ by Catherine Eunson.

Drift off

No common intelligible sound (WB Yeats)

By manoeuvring in mirrors

krill shall multiply

now
the name of the boat now

the name of the boat now

Coming through the firmament yellow and red painted cockerels,

the peaceful dusk of embroidered doves and the army of the singing hen

now
the name of the boat now

the name of the boat

to watch me dance, fishstyle timber tapping upside down

now
the name of the boat now

coming through the firmament
yellow and red painted cockerels,
the peaceful dusk of embroidered doves

now
the name of the boat now

by manoeuvring in mirrors krill shall multiply

the army of the singing hen.

Coming through the firmament - Matthew Grouse
00:00 / 00:00
10 polaroids
INSTRUMENTATION:
String trio
DURATION:
ca. 12'
Commissioned by Live Music Now Scotland for the Dohnányi String Trio as part of the 2016 Kimie Composition Prize, funded by the Kimie Trust.
 
’10 Polaroids’ is a work for string trio in ten short movements, each one based on a different Polaroid photograph taken by the seminal Russian filmmaker, Andrey Tarkovsky. The images were selected from a collection of Tarkovsky’s personal Polaroids, which were curated and edited by Giovanni Chiaramonte and Tarkovsky’s son, published under the title, ‘Instant Light’. A rather fitting summation of the photographs is posed in the introduction to ‘Instant Light’ - “His images seem to capture eternity in a moment.”'

 
10 Polaroids (performed by Dohnányi String Trio) - Matthew Grouse
00:00 / 00:00
10 seconds
INSTRUMENTATION:
Soprano saxophone in Bb (doubling tenor)
Accordion
Electric Guitar
Violin
Viola
Viloncello
Double Bass
Piano
Laptop Performer / Tape
DURATION:
ca. 9'

 
10 Seconds (performed by MusicLab) - Matthew Grouse
00:00 / 00:00
 
Percolator
(a miniature for 2 pianos)
INSTRUMENTATION:
2 pianos
DURATION:
ca. 3"
Percolator (2 pianos) - Matthew Grouse
00:00 / 00:00
i scream at the wind
(I hear no answer)
INSTRUMENTATION:
Amplified soprano saxophone
live electronics
pre-recorded tape
DURATION:
ca. 7'30"

I'm interested in the relationship between sounds we perceive to be 'natural' and those we perceive to be 'artificial'. Processing gives us the opportunity to showcase a found sound's natural qualities or choose to manipulate them beyond recognition. I'm intent on examining how a blending of the two elements or an overt separation / stacking can drastically change our listening experience.

 

... score currently unavailable ...

I scream at the wind (I hear no answer) - Matthew Grouse
00:00 / 00:00
KRANTZ
INSTRUMENTATION:
Flute
Soprano Saxophone
Bassoon
Trumpet in Bb
Horn in F
Trombone
Violin I
Violin II
Viola
Violoncello
DURATION:
ca. 9'
The turbulence of socio/political events currently brings about public apprehension and an impending sense of dread. The ever increasing media depiction of a grave world situation makes us feel like we're constantly on the precipice of something huge.

 
Krantz (performed by MusicLab) - Matthew Grouse
00:00 / 00:00

... score currently unavailable ...

 

... score currently unavailable ...

Mortise
INSTRUMENTATION:
Clarinet in Bb
Viloncello
Piano
 
(Winner of the 2016 Walter and Dinah Wolfe Memorial Prize & premiered by the Hebrides Ensemble)
DURATION:
ca. 10'30"
"The hours after you are gone are so leaden" - Samuel Beckett

 

 

... score currently unavailable ...

Orchids, Thrift and Silverweed
INSTRUMENTATION:
Voice (Mezzo-Soprano)
Piano
 
Poem: Margaret Greenwood
DURATION:
ca. 5'
 
(In Association with Leeds Lieder Festival)
(Premiere performed by Charlotte Heslop (Mezzo) and Fionnuala Ward (Piano)

 

 

Orchids, Thrift and Silverweed - Matthew Grouse
00:00 / 00:00
Olhão Compass
INSTRUMENTATION:
Solo Piano
DURATION:
ca. 7'

 

 

... score currently unavailable ...

Olhão Compass (performed by Sinae Lee) - Matthew Grouse
00:00 / 00:00

© 2015 Matthew Grouse. 

  • w-facebook
  • Twitter Clean
  • w-youtube