The Wolf’s Glen a été jouée à Bruxelles, Corfou, Édimbourg, Linz, Santiago et Sheffield…
This piece is a study using vocal sounds.
Sound transformations began as part of a project with Juxtavoices, a free improvisation vocal group directed by Martin Archer. Sounds were organised as call/response (around 200 small variants) and a number of solos (ten 30-second passages).
This concert work de-constructs the solos and reconstructs the calls to create something that, from the outset suggests an eerie, nocturnal atmosphere. The Wolf’s Glen scene in Carl Maria von Weber’s opera Der Freischütz (1817-20) conjures something devilish and has always had a physical effect on me. In part, my experiment attempts something similar, hence the title taken from the scene.
With regards to method, The Wolf’s Glen continues my research into theoretical ideas thrown open in my text book — Sonic Art: An Introduction to Electroacoustic Music Composition, Routledge, 2016 — in particular the roles of gesture and texture in determining structure.
The Wolf’s Glen was completed in the composer’s office studio at The University of Sheffield (England, UK) during the summer of 2012 and premiered on February 9, 2013 as part of the Soundings… series in the Reid Concert Hall of Edinburgh University (Scotland, UK). The opening passages of The Wolf’s Glen were conceived as a musical offering entitled Conjuring diabolus in musica for François Bayle’s 80th birthday celebration on October 27, 2012 during the L’Espace du son festival in Brussels (Belgium).