Uploaded August 2021 | Updated September 2026, 2 weeks ago
Jennifer Langridge - Cello
Benjamin Powell - Piano
Mark Thomas - Director of Photography
Rob Kelledy - Sound recording and Mastering
Tim Williams - Editor and Producer
This piece explores my two extremes of emotional state: either everything is possible or nothing is possible. The music alternates between poised contemplation in music of infinite serenity, and the driven, manic energy of a furious dance. Like much of my work, the piece draws on musical concepts from various sources, in this case an exploration of a pair of microtonal maqams found in the music of Syria, and a particular Persian dance rhythm called Thaqīl thānī - an ancient rhythmic cycle consisting of sixteen naqarāt. The piece also explores two contrasting approaches to performing on each instrument, most apparent in the passages which exploit muting piano strings with one hand, while playing with the other, in order to bring out different overtones.
Learn more about Florence: florencemaunders.com
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LEARN MORE AND FOLLOW PSAPPHA
Website: psappha.com
Subscribe to Psappha's Enewsletter: shorturl.at/ryFGO
Twitter: twitter.com/PsapphaEnsemble
Facebook: facebook.com/psappha.ensemble
Instagram: instagram.com/psapphaensemble
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Psappha is grateful for the support its ‘Composing for…’ programme receives from: Arts Council England; PRS Foundation Talent Development Partner scheme; Fenton Arts Trust; The Garrick Charitable Trust; Idelewild Trust; The Radcliffe Trust; and The Michael Tippett Musical Foundation.
Jennifer Langridge - Cello
Benjamin Powell - Piano
Mark Thomas - Director of Photography
Rob Kelledy - Sound recording and Mastering
Tim Williams - Editor and Producer
This piece explores my two extremes of emotional state: either everything is possible or nothing is possible. The music alternates between poised contemplation in music of infinite serenity, and the driven, manic energy of a furious dance. Like much of my work, the piece draws on musical concepts from various sources, in this case an exploration of a pair of microtonal maqams found in the music of Syria, and a particular Persian dance rhythm called Thaqīl thānī - an ancient rhythmic cycle consisting of sixteen naqarāt. The piece also explores two contrasting approaches to performing on each instrument, most apparent in the passages which exploit muting piano strings with one hand, while playing with the other, in order to bring out different overtones.
Learn more about Florence: florencemaunders.com
------
LEARN MORE AND FOLLOW PSAPPHA
Website: psappha.com
Subscribe to Psappha's Enewsletter: shorturl.at/ryFGO
Twitter: twitter.com/PsapphaEnsemble
Facebook: facebook.com/psappha.ensemble
Instagram: instagram.com/psapphaensemble
-----
Psappha is grateful for the support its ‘Composing for…’ programme receives from: Arts Council England; PRS Foundation Talent Development Partner scheme; Fenton Arts Trust; The Garrick Charitable Trust; Idelewild Trust; The Radcliffe Trust; and The Michael Tippett Musical Foundation.
