Concert

shifting mechanism (cropped) (stage) 2  1994 Dance on the Beat WCMD 1 (orchestral) cropped dark 2  Ibi and viol (concerts) cropped with text  James Hall (vocal)2  Film and text

Listed in alphabetical order

All programme notes are by the composer, except where credited

.

Adagio (1985)

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fl, cl, hn, hp, vla, vcl

duration: 8 minutes

Programme note
Adagio explores the role of ornamentation in the 18th century slow movement through the simultaneous articulation of two structural planes. Against a recurring and unvaried harmonic rhythm is set a textural surface which gradually moves from a condition of stasis towards one of extreme ornamental density. However, this ornamentation should not be confused with that of the early 18th century which serves to obscure the underlying structure. Instead Barber emulates the late 18th century practice of employing embellishment to thematic and architectural ends.  (Peter Reynolds)

First performed by Circle at Turner Sims Hall, Southampton University on 11 September 1985
with Nancy Ruffer (flute), Ian Mitchell (clarinet), Stephen Stirling (horn), Sioned Williams (harp), Sally Beamish (viola), Julia Dubruslais (cello) conducted by Gregory Rose
Revised version performed by PM Ensemble at Welsh College of Music & Drama on 2 December 1994

11.09.85          SOUTHAMPTON Turner Sims Hall
02.12.94          CARDIFF Welsh College of Music & Drama

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A Forest in Full Flower (1981)

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ob /sop sax, pno, perc, vcl

duration: 8 minutes

Programme note
An extract from the theatre / performance piece Punishment by Roses based on the life of Japanese writer and activist Yukio Mishima. A Forest in Full Flower includes video by Mike Stubbs reconstructing Mishima’s own photoshoot re-enactment of the Martyrdom of St Sebastian painted in 1616 by Italian artist Guido Reni.

Revised version first performed by the New Arts Consort at Chapter Theatre, Cardiff on 4 May 1984
with Jeffery Wilson (soprano sax), Lucy Wilson (piano), Dominic Hackett (percussion), Glyn Perrin (cello)

04.05.84            CARDIFF Chapter Theatre
05.05.84            CARDIFF Chapter Theatre
15.05.84            COVENTRY Warwick University Arts Centre
16.05.84            HEANOR South East Derbyshire College
17.05.84            BLACKBURN School of Art
18.05.84            STOCKTON Dovecot Arts Centre
20.05.84            DURHAM Trevelyan College
21.05.84            HULL Spring Street Theatre
22.05.84            BARNSLEY Northern College
23.05.84            NOTTINGHAM Midland Group
24.05.84            OXFORD Museum of Modern Art
25.05.84            BRISTOL Arnolfini
26.05.84            LONDON Air Gallery

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Afrodisiac (2010)

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b cl, 2 perc, pno, vla, db, singer

duration: 70 minutes

Afrodisiac features an ensemble of seven classical musicians performing alongside two highly respected artists of traditional African instruments: Seckou Keita, an inspired and charismatic performer of the kora (the West African harp-lute) and Chartwell Dutiro, a maestro of the mbira, (the Zimbabwean ‘thumb piano’).

Programme note
Afrodisiac is a personal journey and exploration of ritual, love and magic through the cultures of Africa and the African diaspora, combined with film of the magical ‘Imaginative Realism’ paintings of Cuban artist Raul Speek.

First performed by Sound Affairs at Lyric Theatre, Carmarthen on 14 October 2010
with Rhiannon Llewellyn (soprano), David Jean-Baptiste (bass clarinet), Sacha Johnson (percussion), Jonathan Helm (percussion), Semra Kurutaç (piano), Niamh Ferris (viola) and Ashley John Long (double bass)

Press
“Imagined over the course of a night – its opening incantation for sunset returning at sunrise – the succession of 17 pieces invoke African gods and spirits  alongside pieces based on fragments of early Christian music. Barber’s Sound Affairs ensemble has a parallel range of traditions: the muted tones of viola, double bass and bass clarinet are sharpened not just by keyboard and percussion but by the kora (the west African harp-lute) and the mbira (the Zimbabwean thumb piano). These two were the focus of an early pair of pieces, Jaliya and Mbira Music, allowing the ear to tune into their individual timbres as they emerged throughout the sequence. Ostinato rhythmic patterns bordering on jazz were particularly engaging, with the lively beat of Afoxé adding a South American perspective.”
Rian Evans, The Guardian, 19 October 2010

14.10.10            CARMARTHEN Lyric Theatre
15.10.10            CARDIFF University Music Department Concert Hall
16.10.10            SWANSEA Taliesin Arts Centre
20.10.10            MOLD Clwyd Theatr Cymru
21.10.10            PWLLHELI, Neuadd Dwyfor
22.10.10            HOLYHEAD Ucheldre Centre
25.10.10            LONDON Southbank Centre, Purcell Room
27.10.10            MALVERN Theatres
28.10.10            BROMSGROVE Artrix
30.10.10            COLCHESTER Lakeside Theatre

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Beethoven Re-mix (1999)

s sax, b cl, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

duration: 4 minutes

Programme note
Beethoven’s Symphony No 7 provided the starting point for this work which  draws on musical themes from the first movement.

First performed by Charlie Barber + Band at the Voices of a Nation Live TV Special at Cardiff Bay on 26 May 1999
with Simon Stewart (soprano saxophone); Christian Forshaw (baritone saxophone); Alan MacDonald (trumpet), Steve Legge (trombone), David Appleton (piano), Harry Fowler (percussion); Andy Cookson (percussion), Jeff Moore (violin), Rebecca Jones (violin), Aggie Morgan (viola), Vicki Higginson (cello), Paula Gardiner (double bass)

26.05.99            CARDIFF Voices of a Nation, Cardiff Bay
29.07.99            HAVERFORDWEST Fishguard Music Festival
14.08.99            BRECON Jazz Festival
18.09.99            LONDON Royal Festival Hall, Purcell Room
01.10.99            CARDIFF Chapter Theatre
24.02.06            CARDIFF The Gate
25.02.06            ABERYSTWYTH Arts Centre
26.02.06            HOLYHEAD Ucheldre Centre
27.09.07            TENBY Festival
29.09.07            MOLD Clwyd Theatr Cymru
30.09.07            CARDIFF Chapter Arts Centre
02.10.07            LONDON Purcell Room, Southbank Centre
10.10.07            BRADFORD ON AVON Wiltshire Music Centre
11.10.07            ALSAGER Arts Centre
14.10.07            SWANSEA Taliesin Arts Centre
20.10.07            LLANTWIT MAJOR St Donats Arts Centre
23.10.07            LAMPETER University

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Beethoven Unfinished (2007)

s sax, b cl, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

duration: 6 minutes

Programme note
This work was composed for the 12-piece Band and is based on a few passages from Beethoven’s Fidelio Overture.

First performed at Tenby Arts Festival on 27 September 2007
with Joel Garthwaite (soprano saxophone), Graham Jones (bass clarinet), Tom Shevlin (trumpet), William Hall (trombone), Semra Kurutaç (piano), Jez Wiles (percussion), Dave Danford (percussion), Rhys Watkins (violin), Katy Rowe (violin), Rebekah Brown (viola), Sharon McKinley (cello), Ashley John Long (double bass)

27.09.07            TENBY Festival
29.09.07            MOLD Clwyd Theatr Cymru
30.09.07            CARDIFF Chapter Arts Centre
02.10.07            LONDON Purcell Room, Southbank Centre
10.10.07            BRADFORD ON AVON Wiltshire Music Centre
11.10.07            ALSAGER Arts Centre
14.10.07            SWANSEA Taliesin Arts Centre
20.10.07            LLANTWIT MAJOR St Donats Arts Centre
23.10.07            LAMPETER University

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Concertante for Percussion and Harpsichord (1978)

perc, hpd

duration: 8 minutes

Commissioned by Peter Cobb with funds provided by the Welsh Arts Council
First performed by the New Arts Consort at the Sherman Arena Theatre, Cardiff on 24 May 1978
with Peter Cobb (percussion), Gavin Hibbs (harpsichord)

24.05.78            CARDIFF Sherman Arena Theatre
25.05.78            CARDIFF Sherman Theatre (as part of Linear Encounters)
26.05.78            CARDIFF Sherman Theatre (as part of Linear Encounters)
09.06.78            CARDIFF Chapter Theatre

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De hoc mundo (1991)

(formerly Concertino)

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s sax, b sax (or b cl), tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

duration: 6 minutes

Programme note
This work began in 1989 as a solo piano composition for American choreographer Scott Clark. In 1991 the work was developed with the present instrumentation for Out Of This World, a dance and music project in collaboration with choreographer Andy Howitt. The starting point for this latter project was the meeting between Igor Stravinsky and Dylan Thomas in America in 1953 to discuss a new opera.

First performed by Charlie Barber + Band at City United Reformed Church, Cardiff on 29 May 1993
with James Mainwaring (soprano saxophone), Mike Starr (baritone saxophone), Simon Reeves (trumpet), Gwyn Daniels (trombone), Jonathan Helm (percussion), Andy Cookson (percussion), David Appleton (piano), Alison Francis (violin), Tim Davies (violin), Richard Mainwaring (viola), Sharon McKinley (cello), Robin Hames (double bass)

Press
“The punchy and quizzical music of Charlie Barber has enlivened the scene in south Wales for some while. Listeners around the rest of Britain could hear it at full strength in Radio 3’s recent relay of his orchestral piece Shut Up and Dance, and now his own group is out on a short tour. It’s an extravagant line-up of a dozen players, with Barber directing. Brass and reeds are offset by strings, a bit like the Michael Nyman set-up but softer-edged, and versatile enough for an engaging repertoire of short pieces inflected by pop, early music, and traditional Asian modes….Barber himself made the impact he usually does with De hoc mundo, an energising compendium of punchy offbeat accents, circling harmonies, combative counterpoints and bright, sharp colours”
Robert Maycock, The Independent 4 March 1995

29.05.93            CARDIFF City United Reformed Church
12.06.93            LONDON Royal Festival Hall Purcell Room
28.02.95            LONDON St Giles Church, Cripplegate
02.03.95            CARDIFF City United Reformed Church
07.03.95            MANCHESTER Royal Northern College of Music
04.10.95            CARDIFF Festival of Music, Welsh College of Music & Drama
10.10.95            MANCHESTER Royal Northern College of Music
20.10.95            BATH University
24.02.06           CARDIFF The Gate
25.02.06           ABERYSTWYTH Arts Centre
26.02.06           HOLYHEAD Ucheldre Centre

Version for solo piano

duration: c. 5 minutes

First performed by David Appleton at the  Sherman Arena Theatre, Cardiff on 9 December 1994

09.12.94            CARDIFF Sherman Arena Theatre

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Deus ex machina (1996)

s sax, b cl, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

duration: 12 minutes

Programme note
Deus ex machina, ‘the god from the machine’, was a device often used by Euripides and other Greek dramatists to resolve plot complications which otherwise might have remained insoluble. The ‘machine’  was a sort of crane which could convey an actor through the air to give the impression of flying. The device has continued to be used from Renaissance drama to Elizabethan masques and from 17th century opera to the present day, when supernatural forces intervene in disputes, or between warring factions, to restore harmony. The basic material for this work has been drawn from two different accounts of the phenomenon of thunder: an extract from music depicting a thunderstorm in Gluck’s opera Iphigénie en Tauride (first performed in Paris in 1779) and based on the play by Euripides; and a ritual dance performed be the Ewe people of Ghana in West Africa for the Cult of the God of Thunder.

First performance by Charlie Barber + Band at the Torch Theatre, Milford Haven on 2 October 1996
with Simon Stewart (soprano saxophone), James Scannell (bass clarinet), Alan MacDonald (trumpet), John Randall (trombone), David Appleton (piano), Tim Wright (percussion), Graham Bradley (percussion), Jeff Moore (violin), Tim Davies (violin), Rachel Stott (viola), Sharon McKinley (cello), Paula Gardiner (double bass)

02.10.96            MILFORD HAVEN Torch Theatre [Go West Festival]
15.10.96            CARDIFF University Concert Hall
17.10.96            MANCHESTER Royal Northern College of Music
19.10.96            FROME Merlin Theatre
23.10.96            LONDON Royal Festival Hall Purcell Room
22.07.98            NEWPORT St Woolos Cathedral
23.07.98            BRECON Cathedral
30.09.98            LONDON St Giles Church, Cripplegate
02.10.98            PRAGUE Divadlo Archa / Theatre Archa
03.10.98            BRNO Exposition of New Music, Czech Republic
22.10.99            HAVERFORDWEST St Martin’s Church
23.10.99            WREXHAM The Stiwt
24.10.99            YORK Late Music Festival, De Gray Rooms

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Eaux d’artifice (1998)

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s sax, b sax, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

duration: 13 minutes

Programme note
A reworking of the Autumn and Winter sections from Vivaldi’s The Four Seasons inspired by American film-maker Kenneth Anger’s 1953 avant-garde short Eaux d’artifice

First performed by Charlie Barber + Band at the Palace Theatre Newark upon Trent on 10 October 1998
with Simon Stewart (soprano saxophone), Christian Forshaw (baritone saxophone), Alan MacDonald (trumpet), Steven Legge (trombone), David Appleton (piano), Tim Wright (percussion), Harry Fowler (percussion), Jeff Moore (violin), Tim Davies (violin), John Rayson (viola), Sharon McKinley (cello), Paula Gardiner (double bass)

10.10.98            NEWARK Palace Theatre
15.10.98            BUILTH WELLS Wyeside Arts Centre
22.10.98            SWANSEA Taliesin Arts Centre
25.10.98            BANGOR Theatr Gwynedd
30.10.98            LEICESTER Phoenix Arts
06.11.98            BATH University
07.11.98            CARDIFF Sherman Theatre

Concert version for soprano sax and string quartet

duration: 13 minutes

First performed by Entr’acte at Chapter Cinema 1, Cardiff on 26 January 2002
with Simon Stewart (soprano saxophone), Jonathan Burnett (violin), Nicolas Ramirez (violin), Rachel Robson (viola), Sharon McKinley (cello)

26.01.02            CARDIFF Chapter Cinema
01.02.02            HARLECH Theatr Ardudwy
02.02.02            FISHGUARD Theatr Gwaun
05.02.02            LAMPETER University
08.02.02            ABERGAVENNY Drama Centre

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Ekstasis (1996, revised 1998)

Revised version of Kantos Türkiye

a sax, b cl, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

duration: 10 minutes

Programme note
The word ekstasis is of Greek origin meaning “a being put out of its place” and also describes a trance-like state of the mind. The first version of this present work was written in March 1996 and was revised two years later. The work, based on a call to prayer, is in the form of a canon in three parts or voices: a solo alto saxophone and two instrumental groups performing the same material in augmentation.

First performance of Kantos Türkiye by Charlie Barber + Band at St Giles Church, London on 18 June 1996
with Simon Stewart (alto sax), James Scannell (bass clarinet), Alan MacDonald (trumpet), John Randall (trombone), Ruth Wall (piano), Simon Limbrick (percussion), Tim Wright (percussion), Chris Koh (violin), Tim Davies (violin), Madeleine Zagni (viola), Sharon McKinley (cello), Tony Abell (double bass)

First performance of revised version Ekstasis by Charlie Barber + Band at St Woolos Cathedral, Newport on 22 July 1998
with Simon Stewart (alto sax), Christian Forshaw (bass clarinet), Alan MacDonald (trumpet), Gwyn Daniels (trombone), David Appleton (piano), Tim Wright (percussion), Harry Fowler (percussion), Jeff Moore (violin), Tim Davies (violin), Rachel Stott (viola), Vicki Higginson (cello), Paula Gardiner (double bass)

18.06.96            LONDON St Giles Church, Cripplegate
22.06.96            CARDIFF Llandaff Cathedral
22.07.98            NEWPORT St Woolos Cathedral
23.07.98            BRECON Cathedral
26.09.98            CARDIFF Llandaff Cathedral
30.09.98            LONDON St Giles Cripplegate
03.10.98            BRNO Exposition of New Music, Czech Republic

Performances by Dynamix:
26.02.99            BRIGHTON St Nicholas Church
02.03.99            MANCHESTER St Annes Church
05.03.99            OXFORD Holywell Music Room

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El Puerto Ricercare (1980)                                                   

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vcl, pno, 2 perc

duration: 10 minutes

Commissioned by Chapter, Cardiff with funds provided by the Welsh Arts Council

Programme note
The work is in memorium of Angel Rodriguez Cristobel, an active member of the Puerto Rican Socialist League who was jailed and subsequently murdered it is believed, after taking part in a protest calling for an end to US military operations.

First performed by the New Arts Consort at Chapter Theatre, Cardiff on 7 September 1980
with Noriko Kawai (piano), Simon Limbrick, Nicholas Ormerod & Jeffery Wilson (percussion)

First performance of revised version performed at Chapter Theatre, Cardiff on 4 May 1984
with Glyn Perrin (cello), Lucy Wilson (piano), Clive Malabar (percussion), Jeffery Wilson (percussion)

07.09.80            CARDIFF Chapter Theatre
12.09.80            BATH St James’ Theatre
21.02.82            LONDON Battersea Arts Centre
22.02.82            BUILTH WELLS Wyeside Arts Centre
23.02.82            RISCA Crosskeys College
24.02.82            CARDIFF Sherman Arena Theatre
25.02.82            CARDIFF Sherman Arena Theatre
04.05.84            CARDIFF Chapter Theatre
05.05.84            CARDIFF Chapter Theatre
15.05.84            COVENTRY Warwick University Arts Centre
16.05.84            HEANOR South East Derbyshire College
17.05.84            BLACKBURN School of Art
18.05.84            STOCKTON Dovecot Arts Centre
20.05.84            DURHAM Trevelyan College
21.05.84            HULL Spring Street Theatre
22.05.84            BARNSLEY Northern College
23.05.84            NOTTINGHAM Midland Group
24.05.84            OXFORD Museum of Modern Art
25.05.84            BRISTOL Arnolfini
26.05.84            LONDON Air Gallery
20.10.88            CARDIFF Welsh College of Music & Drama
07.11.88            CARDIFF Four Bars Inn
16.01.89            CARDIFF Welsh College of Music & Drama
20.01.89            ALSAGER Crewe & Alsager College

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Escenas (1986)

picc, ob, cl, bsn, 2 hn, 2 tpt, tbn; tba, 2 perc, vcl, db

duration: 25 minutes

Commissioned by Caroline Lamb with funds provided by the Welsh Arts Council

Programme note
Escenas (literally meaning ‘scenes’) was originally commissioned by Caroline Lamb for Dance Wales in 1986. The piece consists of two vigorous outer sections built around a slower canonic middle section.

First performed by Dance Wales at Chapter Theatre, Cardiff on 4 March 1986

Revised version first performed by the New Arts Consort at St David’s Hall, Cardiff, 4 March 1989
with Barry Kelvin-Hall (piccolo), Michelle Bosley (oboe), Julian Holmes (clarinet), Liz Nicholsonson (bassoon), Gareth Williams (horn), David Williams (horn), Gareth Rees (trumpet), Ted John (trumpet), Ian Torr (trombone), Louise Hanslow (tuba), Philip Girling (percussion), Kevin Earley (percussion), Sharon McKinley (cello), Geraint Williams (double bass)

Press
Escenas, for 13 players, explored brilliantly the possibilities of ornate and shapely melodic canons in a Latin American rhythmic context.”
Stephen Walsh, The Independent 6 March 1989

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Evening Notes (1979)                                                                 

ob, vcl, pno, perc

duration: 15 minutes

First performed by the New Arts Consort at Chapter Theatre, Cardiff on 26 September 1979
with Steve Watts (oboe), Naomi Turner (cello), Kelvin Leslie (piano), Jeffery Wilson (percussion)

26.09.79            CARDIFF Chapter Theatre
11.10.79            CARDIFF Sherman Arena Theatre
12.10.79            LONDON Jackson’s Lane
21.08.81            CARDIFF Chapter Theatre
26.08.81            EDINBURGH Chaplaincy Centre (Fringe Festival)
29.08.81            EDINBURGH Chaplaincy Centre (Fringe Festival)

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EX (1979)                                                                                  

amplified pno, perc

duration: 10 minutes

Commissioned by Extemporary Dance Theatre with funds provided by the Arts Council of Great Britain
First performed by the New Arts Consort at Chapter Theatre, Cardiff on 11 April 1980
with Kelvin Leslie (piano), Jeffery Wilson (percussion)

Revised version first performed by Simon Limbrick and Noriko Kawai at Leighton House, London, 5 March 1982

11.04.80            CARDIFF Chapter Theatre
12.04.80            CARDIFF Chapter Theatre
16.04.80            HARLECH Theatr Ardudwy
17.04.80            BUILTH WELLS Wyeside Arts Centre
21.08.81            CARDIFF Chapter Theatre
26.08.81            EDINBURGH Chaplaincy Centre (Fringe Festival)
29.08.81            EDINBURGH Chaplaincy Centre (Fringe Festival)
05.03.82            LONDON Leighton House
27.03.82            LONDON Old Half Moon Theatre
28.03.82            LONDON Old Half Moon Theatre

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False Steps (1982)

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ob, pno, perc, vcl, db

duration: 10 minutes

Commissioned by Lynx Dance Company with funds provided by the Arts Council of Great Britain

Programme note
The ‘systems’ work is palindromic in its rhythmic content as well as the overall structure. The opening and closing sections contain mirror themes of different lengths for each instrument, with the oboe theme forming the basis of the material for the central section.

First performed (in concert version) by the New Arts Consort at Chapter Theatre, Cardiff on 3 March 1983
with Juliet Abbott (oboe), Andrew Poppy (piano), Clive Malabar (percussion), Janet Reed (cello), Ivor Hodgson (double bass)

Revised 1987 version first performed by the New Arts Consort at Theatr Hafren, Newtown on 5 November 1987

03.03.83            CARDIFF Chapter Arts Centre
05.03.83            NORWICH Premises Arts Centre
06.03.83            BOSTON Blackfriars Theatre
07.03.83            BIRMINGHAM The Triangle
08.03.83            BIRMINGHAM The Triangle
09.03.83            LEEDS Trinity and All Saints’ College
10.03.83            WAKEFIELD Bretton Hall College
11.03.83            SUNDERLAND Polytechnic
13.03.83            STOCKTON Dovecot Arts Centre
14.03.83            ILKLEY College
15.03.83            CHESTERFIELD College of Art & Design
16.03.83            NOTTINGHAM Midland Group
17.03.83            LEICESTER Phoenix Arts Centre
18.03.83            SWINDON Thamesdown Studio
19.03.83            LONDON Almeida Theatre
05.11.87            NEWTOWN Theatr Hafren
07.11.87            CARDIFF Chapter Theatre
11.11.87            BRISTOL Arnolfini
07.11.88            CARDIFF Four Bars Inn
16.01.89            CARDIFF Welsh College of Music & Drama
20.01.89            ALSAGER Crewe & Alsager College

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Fire and Hammer (1999)

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for slendro gamelan

duration: 7 minutes

First performed by the St David’s Hall Gamelan Group at St David’s Hall, Cardiff on 19 July 1999

19.07.99            CARDIFF St David’s Hall

Version for 12 musicians:

2 cl, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

First performed by Charlie Barber + Band at the Bute Theatre, Welsh College of Music & Drama on 19 November 1999
with Simon Stewart (clarinet), Katie Samways (clarinet), Tom Watson (trumpet), Steven Legge (trombone), David Appleton (piano), Harry Fowler (percussion), Colin McCann (percussion), Jonathan Burnett (violin), Liz Norton (violin), Morgan Goff (viola), Sharon McKinley (cello), Paula Gardiner (double bass)

19.11.99            CARDIFF Bute Theatre, Welsh College of Music & Drama
23.11.99            ABERYSTWYTH Arts Centre
07.07.00            BURY ST EDMUNDS Blackthorpe Barn

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Footnotes (1988)


tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

duration: 7 minutes

Commissioned by the Welsh Jazz Society with funds provided by the Welsh Arts Council

Programme note
Footnotes is a tribute to American popular music, particularly the early dance records issued by the Tamla Motown label. It was commissioned by the Welsh Jazz Society and first performed at the Four Bars Inn, Cardiff, by the New Arts Consort as part of their tenth anniversary retrospective. The revised version for the Band was made in December 1993.

First performed by the New Arts Consort at the Four Bars Inn, Cardiff on 7 November 1988
with Ted John (trumpet), Ian Torr (trombone), Gareth Davies (piano), Phil Girling (percussion), Kevin Earley (percussion),Cathy Porter (violin), John Rayson (viola), Alexandra Robinson (cello)

Revised version first performed by Charlie Barber + Band at the Bute Theatre, Welsh College of Music & Drama on 15 February 1994
with Mark Morren (alto saxophone), Paul Hornsby (tenor saxophone), Gethin Liddington (trumpet), Gwyn Daniels (trombone), David Appleton (piano), Andy Cookson (percussion), Jonathan Helm (percussion), Alison Francis (violin), Tim Davies (violin), Michael Rafferty (viola), Sharon McKinley (cello), Paula Gardiner (double bass)

Second revised version performed by Charlie Barber + Band at The Point, Cardiff on 16 February 1996
with Mark Morren (alto saxophone), James Scannell (tenor saxophone), Alan MacDonald (trumpet), John Randall (trombone), Ruth Wall (piano), Simon Limbrick (percussion), Tim Wright (percussion), Claire Nelson (violin), Tim Davies (violin), Madeleine Zagni (viola), Sharon McKinley (cello), Paula Gardiner (double bass)

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07.11.88            CARDIFF Four Bars Inn
16.01.89            CARDIFF Welsh College of Music & Drama
20.01.89            ALSAGER Crewe & Alsager College
04.03.89            CARDIFF St David’s Hall
20.08.89            BRECON Jazz Festival
15.02.94            CARDIFF Welsh College of Music & Drama
16.02.96            CARDIFF The Point
18.02.96            BRACKNELL Wilde Theatre, South Hill Park
23.02.96            MANCHESTER Royal Northern College of Music

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Grounds for Action (1990) 

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from Moving Being’s Josef Beuys project

duration: 10 minutes

Revised version for:
s sax, t sax, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

Programme note
Grounds For Action is a set of passacaglias, or grounds, in canon form. The original score was commissioned by Moving Being in 1988 for In Düsseldorf and Nebraska, a mixed media performance in memory of the controversial German artist Joseph Beuys. During the performance, the music accompanied the actions of three artists / technicians who intermittently manipulated the performance space to create new spatial structures. In a similar way, the ground bass line which forms the raw material for the music undergoes a number of transformations which develop in strict three-part canon.

First performed by Charlie Barber + Band at Brecon Jazz Festival on 18 August 1990
with James Mainwaring (soprano saxophone), Matthew Bailey (baritone saxophone), Gareth Davies (piano), Phil Girling (percussion), Andy Cookson (percussion), Glenda Rogers (violin), Phil Aird (violin) John Hymas (viola), Richard Stewart (cello), Davey Strachen (double bass)

18.08.90            BRECON Jazz Festival
26.02.91            CARDIFF University Concert Hall
12.10.91            BANGOR University Concert Hall (Icebreaker)
08.10.93            CARDIFF Festival of Music, WCMD
17.05.95            NOTTINGHAM Djanogly Recital Hall
18.05.95            LONDON Conway Hall
19.05.95            CARDIFF The Point

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Guajira (1981)

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pno, perc, vcl, e bass gtr/db

duration: 8 minutes

Commissioned by Tamara McLorg with funds provided by the Arts Council of Great Britain

Programme note
Taking its title from a popular Cuban song style, Guajia juxtaposes African rhythms against melodic material from Spanish sources.

First performed (in concert version) by the New Arts Consort at Chapter Theatre on 21 August 1981
with Noriko Kawai (piano), Simon Limbrick (percussion), William Bruce (cello), Neil Watson (basses)

21.08.81            CARDIFF Chapter Theatre
21.02.82            LONDON Battersea Arts Centre
22.02.82            BUILTH WELLS Wyeside Arts Centre
23.02.82            RISCA Crosskeys College
24.02.82            CARDIFF Sherman Arena Theatre
25.02.82            CARDIFF Sherman Arena Theatre
03.03.83            CARDIFF Chapter Arts Centre
05.03.83            NORWICH Premises Arts Centre
06.03.83            BOSTON Blackfriars Theatre
07.03.83            BIRMINGHAM The Triangle
08.03.83            BIRMINGHAM The Triangle
09.03.83            LEEDS Trinity and All Saints’ College
10.03.83            WAKEFIELD Bretton Hall College
11.03.83            SUNDERLAND Polytechnic
13.03.83            STOCKTON Dovecot Arts Centre
14.03.83            ILKLEY College
15.03.83            CHESTERFIELD College of Art & Design
16.03.83            NOTTINGHAM Midland Group
17.03.83            LEICESTER Phoenix Arts Centre
18.03.83            SWINDON Thamesdown Studio
19.03.83            LONDON Almeida Theatre
07.11.88            CARDIFF Four Bars Inn
16.01.89            CARDIFF Welsh College of Music & Drama
20.01.89            ALSAGER Crewe & Alsager College
20.08.89            BRECON Jazz Festival

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Hoquetus David (1996) after Machaut

s sax, b cl, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

duration: 8 minutes

Programme note
This is a new orchestration of Hoquetus David composed by Guillaume de Machaut (c. 1300 – April 1377). The Hoquetus is unique in Machaut’s output. A textless piece, it is laid out in three parts, with eight identical rhythmic repetitions overlapping with three statements of the melody.

First performance by Charlie Barber + Band at St Giles Church, London on 18 June 1996
with Simon Stewart (soprano saxophone), James Scannell (bass clarinet), Alan MacDonald (trumpet), John Randall (trombone), Ruth Wall (piano), Simon Limbrick (percussion), Tim Wright (percussion), Chris Koh (violin), Tim Davies (violin), Madeleine Zagni (viola), Sharon MacKinley (cello), Tony Abell (double bass)

18.06.96            LONDON St Giles Church, Cripplegate
22.06.96            CARDIFF Llandaff Cathedral
22.07.98            NEWPORT St Woolos Cathedral
23.07.98            BRECON Cathedral
26.09.98            CARDIFF Llandaff Cathedral
30.09.98            LONDON St Giles Church, Cripplegate
03.10.98            BRNO Exposition of New Music, Czech Republic
22.10.99            HAVERFORDWEST St Martin’s Church
23.10.99            WREXHAM The Stiwt
24.10.99            YORK Late Music Festival, De Gray Rooms

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Incandanza (1997)

for flute and guitar

duration: 8 minutes

Commissioned by The Umbrella Collection with funds provided by the Arts Council of Wales
First performed by Lynne Plowman (flute) and Sally Hillier (guitar) at the Norwegian Church, Cardiff Bay on 25 November 1997

Programme note
Originally written for flute/guitar duo Lynne Plowman and Sally Hillier, Incandanza is an exploration of the panpipe and guitar music of the Andes – the repeated note phrases typical of panpipes with a harmonic and rhythmic structure borrowed from Spanish flamenco.

25.11.97            CARDIFF Norwegian Church

Version for 12-piece Band

s sax, t sax, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

First performed by Charlie Barber + Band at Chapter Theatre, Cardiff on 13 March 1999
with Simon Stewart (soprano Saxophone), Paul Stevens (tenor saxophone), Alan MacDonald (trumpet, Steven Legge (trombone), David Appleton (piano), Harry Fowler (percussion), Matt Whittington (percussion), Jeff Moore (violin), Tim Davies (violin), John Rayson (viola), Sharon McKinley (cello), Paula Gardiner (double bass)

13.03.99            CARDIFF Chapter Theatre
25.03.99            LONDON RFH Purcell Room
26.03.99            NARBERTH Queen’s Hall
27.03.99            SWANSEA Taliesin Arts Centre
18.09.99            LONDON RFH Purcell Room
01.10.99            CARDIFF Chapter Theatre
19.11.99            CARDIFF Welsh College of Music & Drama
23.11.99            ABERYSTWYTH Arts Centre
07.07.00            BURY ST EDMONDS Blackthorpe Barn

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Intonazioni e tre canzone (1986)

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solo trombone and tape delays

duration: 9 minutes

Programme note
Intonazioni e tre canzone was composed in 1986 for solo trombone with tape delay for Gwyn Daniels. Inspired by the music of Giovanni Gabrieli (1557-1612), the material explores echo effects in much the same way as Gabrieli’s music for St Mark’s, Venice, which was performed by separate choirs of instruments distributed in the body of the church.

First performed by Ian Torr at Chapter, Cardiff on 28 January 1989

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Intonazioni e Canzone (1990, rev.1992)

s sax, t sax, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

duration: 12 minutes

Programme note
In 1990 two sections from the solo trombone work composed in 1986 were developed for Moving Being’s production of The Duchess of Malfi by John Webster. As the original performances of The Duchess of Malfi had taken place in 1613-14, shortly after Gabrieli’s death, it seemed appropriate to refer to the Venetian composer’s music.  This version of Intonazioni e Canzone is a new orchestration of music from that production.1. Intonazioni/Lighting The Time To Come
2. Canzon a tre
3. Diamonds Cut Diamonds

First performed by Charlie Barber + Band at City United Reformed Church, Cardiff on 29 May 1993
with James Mainwaring (soprano saxophone), Mike Starr (baritone saxophone), Simon Reeves (trumpet), Gwyn Daniels (trombone), Jonathan Helm (percussion), Andy Cookson (percussion), David Appleton (piano), Alison Francis (violin), Tim Davies (violin), Richard Mainwaring (viola), Sharon McKinley (cello), Robin Hames (double bass)

29.05.93            CARDIFF City United Reformed Church
17.05.95            NOTTINGHAM Djanogly Recital Hall
18.05.95            LONDON Conway Hall
19.05.95            CARDIFF The Point

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Jaliya (1990, revised 2010)

revised in 2010 for the Afrodisiac programme

b cl, 2 perc, pno, vla, db

duration: 6 minutes

Programme note
Jaliya meaning ‘music of the Jalis’, refers to the hereditary musicians, or ‘jalis’, of north west Africa whose vocal and instrumental music inspired the present work. The score of Jaliya combines elements of the ‘kora’ (African harp) technique and the Islamic influenced vocal characteristics with traditional African drumming patterns.

First performed by Sound Affairs at Lyric Theatre, Carmarthen on 14 October 2010
with David Jean-Baptiste (bass clarinet), Sacha Johnson (percussion), Jonathan Helm (percussion), Semra Kurutaç (piano), Niamh Ferris (viola) and Ashley John Long (double bass) and Seckou Keita (kora)

14.10.10            CARMARTHEN Lyric Theatre
15.10.10            CARDIFF University Music Department Concert Hall
16.10.10            SWANSEA Taliesin Arts Centre
20.10.10            MOLD Clwyd Theatr Cymru
21.10.10            PWLLHELI, Neuadd Dwyfor
22.10.10            HOLYHEAD Ucheldre Centre
25.10.10            LONDON Southbank Centre, Purcell Room
27.10.10            MALVERN Theatres
28.10.10            BROMSGROVE Artrix
30.10.10            COLCHESTER Lakeside Theatre

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Kantilan Karangan (1993)

for six pianos

duration: 4 minutes

Programme note
The title is taken from two Balinese words: ‘kantilan‘ refers to the intricate patterns or ‘flower passages’ in Balinese gamelan, whilst ‘karangan‘ describes a piece of work which is assembled or constructed. The technique of interlocking parts is an important feature of Balinese music, for there are two ‘voices’ that run in counterpoint – two different rhythms, positive and negative, that fit together to form an unbroken swift arabesque. The work was composed in April 1993 for Piano Circus.

First performed by Piano Circus at the Vale of Glamorgan Festival on 29 August 1993

29.08.93            ST DONATS Vale of Glamorgan Festival
19.11.93            HUDDERSFIELD Contemporary Music Festival
17.09.94            TORINO Settembre Musica
11.11.94            LONDON The Place Theatre
20.05.95            ALGARVE Festival Internacional de Música
26.05.95            BOURNEMOUTH International Festival
18.10.95            HEREFORD College
28.10.95            NEWCASTLE Playhouse
10.11.95            BATH University
21.11.95            HUDDERSFIELD Contemporary Music Festival
29.11.95            LONDON The Place Theatre
10.09.98            BARRY Memorial Hall, Vale of Glamorgan Festival

Version for s sax, t sax, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db
duration: 4 minutes
First performed by Charlie Barber + Band at Chapter Theatre, Cardiff on 29 April 1994
with Mark Morren (soprano saxophone), Paul Hornsby (tenor saxophone), Simon Reeves (trumpet), Gwyn Daniels (trombone), David Appleton (piano), Andy Cookson (percussion), Jonathan Helm (percussion), Alison Francis (violin), Tim Davies (violin), Michael Rafferty (viola), Sharon McKinley (cello), Paula Gardiner (double bass)

29.04.94            CARDIFF Chapter Theatre
05.10.94            CARDIFF Welsh College of Music & Drama
12.10.94            LONDON RFH Purcell Room
16.02.96            CARDIFF The Point
18.02.96            BRACKNELL Wilde Theatre, South Hill Park
23.02.96            MANCHESTER Royal Northern College of Music

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Khyal (1991)

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s sax, b sax, tpt, tbn, pno (+ harm), 2 perc, 2 vln, vla, vcl, db

duration: c. 16 minutes

Commissioned by the Sherman Theatre, Cardiff

Programme note
Khyal consists of a series of pieces written during April 1991. Each section is named after a rag, a Hindu word for a scale or mode, and the melodic material has been drawn from transcriptions of vocal improvisations by classical singers from the northern regions of India.Khyal, meaning ‘lyric’ as well as ‘imagination’, is a genre of Indian classical music which was cultivated in the royal courts of Hindustan. Legend, scattered commentary and speculation suggest that the genre originated with the poet and composer Amir Khusrau Dihlavi (1251 – 1326). From about the mid-eighteenth century, the art of singing khyal developed through hereditary musicians and the musical knowledge fostered within families who specialised in vocal music. In performing khyal, the singer presents a brief composition and then improvises according to certain guidelines.In the present set of pieces, the first section Malkauns is based on an improvisation by Bade Ghulam Ali Khan (1903 – 1968); Jaya Javanti is inspired by an improvisation by Faiyaz Husain Khan (1886 – 1950); and Gaud Malhar takes as its starting point a vocal improvisation by Narayan Rao Vyas (1902 – 1984).
i.          Malkauns
ii.         Jaya Javanti
iii.        Desi
iv.        Gaud Malhar

First concert performance by Charlie Barber + Band at Chapter Theatre, Cardiff on 17 September 1991
with James Mainwaring (soprano saxophone), Matthew Bailey (baritone saxophone), Jonathan Mainwaring (trumpet), Gwyn Daniels (trombone), Gareth Davies (piano), Phil Girling (percussion), Andy Cookson (percussion), Alison Francis (violin), Richard Treglown (violin), Matthew Roberts (viola), Vicki Higginson (cello), Robin Hames (double bass)

17.09.91            CARDIFF Chapter Theatre
29.04.94            CARDIFF Chapter Theatre
28.02.95            LONDON St Giles Church, Cripplegate
02.03.95            CARDIFF City United Reformed Church
07.03.95            MANCHESTER Royal Northern College of Music
18.06.96            LONDON St Giles Church, Cripplegate
22.06.96            CARDIFF Llandaff Cathedral

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Kitab al-musiqi (1989)

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picc, ob, cl, bsn, 2 hn, 2 tpt, tbn, tba, pno, 2 perc, 2 vln, 2 vla, 2 vcl, db

duration: 25 minutes

Commissioned by St David’s Hall, Cardiff with funds provided by the Welsh Arts Council

Programme note
The title, meaning ‘the Book of Music’, is taken from a musical treatise written by Al-Farabi in the 10th century. Six different rhythms listed in Al-Farabi’s book form the basis for the rhythms in the work, whilst the melodic material reworks certain north-west African vocal and instrumental techniques.

First performed by the New Arts Consort at St David’s Hall, Cardiff on 4 March 1989
with Barry Kelvin-Hall (piccolo), Michelle Bosley (oboe), Julian Holmes (clarinet), Liz Nicholsonson (bassoon), Gareth Williams (horn), David Williams (horn), Gareth Rees (trumpet), Ted John (trumpet), Ian Torr (trombone), Louise Hanslow (tuba), Gareth Davies (piano), Philip Girling (percussion), Kevin Earley (percussion), Luke Roskans (violin), Mary Shannon (violin), Sian Jenkins (viola), Sharon McKinley (cello), Kate Morgan (cello), Geraint Williams (double bass)

Press
“Barber can write at considerable length without monotony. A new St David’s Hall commission Kitab al-Musiqi deployed a small orchestra of 20 for as many minutes in a subtle and exciting rhythmic study based on material from a treatise by the 1oth century Turkestani theorist, Al-Farabi…The music is translucent, yet intricate, and is beautifully “heard” – one can approach it as sheer sound, but stay with it as method and substance….The colours of Barber’s music stay in the ear long after the sounds have died away..”
Stephen Walsh, The Independent, 6 March 1989

04.03.89           CARDIFF St David’s Hall

Revised version for 12-piece band:
17.09.91            CARDIFF Chapter Theatre
31.05.97            CARDIFF The Point
02.06.97            LONDON Royal Festival Hall, Purcell Room
19.06.97            MANCHESTER Royal Northern College of Music

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Mbira Music (1987)    

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tpt, tbn, perc, pno, 2 vln, vla, vcl

duration: 20 minutes

Commissioned by Chapter, Cardiff with funds provided by the Welsh Arts Council

Programme note
A ‘moto perpetuo’ for strings, wind, and percussion, based on the melodic characteristics of the Zimbabwean mbira – a small keyboard instrument played with the thumbs. The opening section is derived from the different tunings obtained from the right and left hand of the mbira; whilst the rhythms are based on African cowbell patterns.

First performed by the New Arts Consort at Theatr Hafren, Newtown on 5 November 1987
with Christopher Jones (trumpet), Ian Torr (trombone), James Clapperton (piano), Phil Girling (percussion), Alison Balfour-Jones (violin), Derek Jones (violin), John Rayson (viola), Kate Morgan (cello)

Press
“The 20-minute Mbira Music…was a rich succession of tender and fiery mood, loaded with utterances of musicianship that were at times sublime in their invention and delivery. One of the several things I found especially delightful in it was the amplified counterpoint of pizzicatio violins and viola, done in the spirit of the African keyboard instrument the mbira.”
John Greally, Western Mail, 27 February 1991

05.11.87            NEWTOWN Theatr Hafren
07.11.87            CARDIFF Chapter Theatre
11.11.87            BRISTOL Arnolfini
07.11.88            CARDIFF Four Bars Inn
16.01.89            CARDIFF Welsh College of Music & Drama
20.01.89            ALSAGER Crewe & AlsagerCollege
04.03.89            CARDIFF St David’s Hall

Performances by Charlie Barber + Band:
20.08.89            BRECON Jazz Festival
26.02.91            CARDIFF University Concert Hall
02.03.91            BRADFORD University
17.04.91            RISCA College
31.05.97            CARDIFF The Point
02.06.97            LONDON RFH Purcell Room
19.06.97            MANCHESTER Royal Northern College of Music

Mbira Music (2010)  

revised for the Afrodisiac programme

b cl, 2 perc, pno, vla, db

duration: 4 minutes

14.10.10            CARMARTHEN Lyric Theatre
15.10.10            CARDIFF University Music Department Concert Hall
16.10.10            SWANSEA Taliesin Arts Centre
20.10.10            MOLD Clwyd Theatr Cymru
21.10.10            PWLLHELI, Neuadd Dwyfor
22.10.10            HOLYHEAD Ucheldre Centre
25.10.10            LONDON Southbank Centre, Purcell Room
27.10.10            MALVERN Theatres
28.10.10            BROMSGROVE Artrix
30.10.10            COLCHESTER Lakeside Theatre

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Melodram / Funeral Flowers (2005)

Melodram (1815) for Glass Harmonica (1815) – L. van Beethoven
Funeral Flowers (2005) – Charlie Barber

s sax, b cl, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

duration: 7 minutes

Programme note
Melodram was written by Beethoven in 1815 as incidental music for Friedrich Duncker’s play Leonore Prohaska.  It was composed for the Glass Harmonica, a set of tuned glass bowls which enjoyed a certain popularity at the time.  Melodram is performed on video by percussionist Alasdair Malloy alongside a new set of variations – Funeral Flowers – by Charlie Barber.

First performed at The Gate, Cardiff on 24 February 2006
with James Mainwaring (soprano saxophone), Massimo di Trolio (bass clarinet), David Geoghegan (trumpet), Gwyn Daniels (trombone), Semra Kurutaç (piano), Matthew West (percussion), Jonathan Helm (percussion), Jonathan Burnett (violin), Katy Rowe (violin), Rebekah Brown (viola), Sharon McKinley (cello), Georgina Poad (double bass)

24.02.06            CARDIFF The Gate
25.02.06            ABERYSTWYTH Arts Centre
26.02.06            HOLYHEAD Ucheldre Centre
27.09.07            TENBY Festival
29.09.07            MOLD Clwyd Theatr Cymru
30.09.07            CARDIFF Chapter Arts Centre
02.10.07            LONDON Purcell Room, Southbank Centre
10.10.07            BRADFORD ON AVON Wiltshire Music Centre
11.10.07            ALSAGER Arts Centre
14.10.07            SWANSEA Taliesin Arts Centre
20.10.07            LLANTWIT MAJOR St Donats Arts Centre
23.10.07            LAMPETER University

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No Marks For Industrial Reporting (1984)

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Text and video by Martin Wilson

pno, e pno, 2 perc

duration: 8 minutes

First performed by the New Arts Consort at Chapter Theatre, Cardiff on 4 May 1984
with Lucy Wilson (piano), Glyn Perrin (electric piano), Dominic Hackett (percussion), Jeffery Wilson (percussion)

04.05.84           CARDIFF Chapter Theatre
05.05.84            CARDIFF Chapter Theatre
15.05.84            COVENTRY WarwickUniversity Arts Centre
16.05.84            HEANOR South East Derbyshire College
17.05.84            BLACKBURN School of Art
18.05.84            STOCKTON Dovecot Arts Centre
20.05.84            DURHAM Trevelyan College
21.05.84            HULL Spring Street Theatre
22.05.84            BARNSLEY Northern College
23.05.84            NOTTINGHAM Midland Group
24.05.84            OXFORD Museum of Modern Art
25.05.84            BRISTOL Arnolfini
26.05.84            LONDON Air Gallery

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Organum (1997)

duration: 8 minutes

Commissioned by the Vale of Glamorgan Festival with funds provided by the Arts Council of Wales
First performed by the Apollo Saxophone Quartet at the Vale of Glamorgan Festival in the Tythe Barn, St Donats Arts Centre on 6 September 1997

06.09.97            ST DONATS Vale of Glamorgan Festival

Version for piano and vibraphone

duration: 10 minutes

First performed by Raw Goods at Chapter Theatre, Cardiff on 19 May 1998
19.05.98            CARDIFF Chapter Theatre
21.05.98            LONDON Royal Festival Hall, Purcell Room
23.05.98            SWANSEA Taliesin Arts Centre
07.10.98            ROTTERDAM Lantaren / Venster
12.06.99            BARCELONA Marató de l’Espectacle

Version for 12-piece Band

s sax, b cl, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

duration: 10 minutes

First performance by Charlie Barber + Band at Llandaff Cathedral, Cardiff on 26 September 1998

26.09.98            CARDIFF Llandaff Cathedral
30.09.98            LONDON St Giles Church, Cripplegate
22.10.99            HAVERFORDWESTSt Martin’s Church
23.10.99            WREXHAM The Stiwt
24.10.99            YORK Late Music Festival, De Gray Rooms

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quasi una fantasia (2006)

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b cl, pno, vib, 2 vln, vla, vcl, db

duration: 4 minutes

First performed at The Gate, Cardiff 24 February 2006 with James Mainwaring (soprano saxophone), Massimo di Trolio (bass clarinet), David Geoghegan (trumpet), Gwyn Daniels (trombone), Semra Kurutaç (piano), Matthew West (percussion), Jonathan Helm (percussion), Jonathan Burnett (violin), Katy Rowe (violin), Rebekah Brown (viola), Sharon McKinley (cello), Georgina Poad (double bass)

24.02.06            CARDIFF The Gate
25.02.06            ABERYSTWYTH Arts Centre
26.02.06            HOLYHEAD Ucheldre Centre
27.09.07            TENBY Arts Festival
29.09.07            MOLD Clwyd Theatr Cymru
30.09.07            CARDIFF Chapter Arts Centre
02.10.07            LONDON Purcell Room, Southbank Centre
10.10.07            BRADFORD ON AVON Wiltshire Music Centre
11.10.07            ALSAGER Arts Centre
14.10.07            SWANSEA Taliesin Arts Centre
20.10.07            LLANTWIT MAJOR St Donats Arts Centre
23.10.07            LAMPETER University

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Recitative + Aria (1983)

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s sax (or cl), vcl, pno, portable organ (or harmonium)

duration: 4 minutes

Programme note
Recitative + Aria is the first piece to merge from Barber’s preoccupation with the music of Gluck. In this work, the recitative no longer precedes the aria. Instead, two different recitatives (piano and organ) and two different arias (cello and soprano saxophone) are played simultaneously. The materials and sounds remain the same throughout, but their interaction is such that the perspective in which we view them constantly changes. (Peter Reynolds)

First performed by the New Arts Consort at Chapter Theatre, Cardiff on 4 May 1984
with Jeffery Wilson (clarinet), Glyn Perrin (cello), Lucy Wilson (piano), Dominic Hackett (harmonium)

04.05.84            CARDIFF Chapter Theatre
05.05.84            CARDIFF Chapter Theatre
15.05.84            COVENTRY Warwick University Arts Centre
16.05.84            HEANOR South East Derbyshire College
17.05.84            BLACKBURN School of Art
18.05.84            STOCKTON Dovecot Arts Centre
20.05.84            DURHAM Trevelyan College
21.05.84            HULL Spring Street Theatre
22.05.84            BARNSLEY Northern College
23.05.84            NOTTINGHAM Midland Group
24.05.84            OXFORD Museum of Modern Art
25.05.84            BRISTOL Arnolfini
26.05.84            LONDON Air Gallery

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Re: Evolution [Notes From Darwin] (1993)

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a sax, t sax, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, e bass gtr

duration: 6 minutes

Programme note
A re-working of music composed for Moving Being’s Darwin Project.

First performed by Charlie Barber + Band at Brecon Jazz Festival on 14 August 1993
with Jeffery Wilson (alto saxophone), Paul Hornsby (tenor saxophone), Gethin Liddington (trumpet), Gwyn Daniels (trombone), David Appleton (piano), Jonathan Helm (percussion), Andy Cookson (percussion), Alison Francis (violin), Tim Davies (violin), Michael Rafferty (viola), Sharon McKinley (cello), Robin Hames (bass guitar)

14.08.93            BRECON Jazz Festival
08.10.93            CARDIFF Music Festival, Welsh College of Music & Drama
05.10.94            CARDIFF Welsh College of Music & Drama
12.10.94            LONDON Royal Festival Hall, Purcell Room

Other performances:
11.10.95            LONDON Red Rose (Dynamix)
11.12.95            BRISTOL Clifton College (School performance)

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Re: Formation of Chaos (1995)       

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s sax, b cl, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

duration: c. 7 minutes

Programme note
Re: Formation of Chaos is based on melodic and harmonic material derived from a musical fragment from Representation of Chaos, the instrumental introduction to Haydn’s oratorio The Creation (1798).

First performance by Charlie Barber + Band for Cardiff Festival of Music at the Bute Theatre, Welsh College of Music & Drama, Cardiff on 4 October 1995
with Jeffery Wilson (soprano saxophone), James Scannell (bass clarinet), Alan MacDonald (trumpet), John Randall (trombone), Ruth Wall (piano), Jonathan Helm (percussion), Tim Wright (percussion), Claire Nelson (violin), Michael Rafferty (violin), Madeleine Zagni (viola), Sharon McKinley (cello)

Press
“Barber’s own premiere-piece, Re: Formation of Chaos, derived from a fragment of the instrumental introduction to Haydn’s The Creation, was a Steve Reichian slow burn of metronomic percussion and eerie, sliding strings that suggested a clockwork toy winding down to entropy.”
Phil Johnson, The Independent 25 October 1995

04.10.95            CARDIFF Bute Theatre, Welsh College of Music & Drama
10.10.95            MANCHESTER Royal Northern College of Music
20.10.95            BATH University
18.06.96            LONDON St Giles Church, Cripplegate
22.06.96            CARDIFF Llandaff Cathedral
02.10,96            MILFORD HAVEN Torch Theatre
15.10.96            CARDIFF University Concert Hall
17.10.96            MANCHESTER Royal Northern College of Music
19.10.96            FROME Merlin Theatre
23.10.96            LONDON Royal Festival Hall, Purcell Room

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Samba Round (1994)

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s sax, a sax, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

duration: 5 minutes

First performed by Charlie Barber + Band at the Bute Theatre, Welsh College of Music & Drama on 15 February 1994
with Mark Morren (soprano saxophone), Paul Hornsby (tenor saxophone), Gethin Liddington (trumpet), Gwyn Daniels (trombone), David Appleton (piano), Andy Cookson (percussion), Jonathan Helm (percussion), Alison Francis (violin), Tim Davies (violin), Michael Rafferty (viola), Sharon McKinley (cello), Paula Gardiner (double bass)

15.02.94            CARDIFF Bute Theatre, Welsh College of Music & Drama
29.04.94            CARDIFF Chapter Theatre
05.10.94            CARDIFF Welsh College of Music & Drama
12.10.94            LONDON RFH Purcell Room
17.05.95            NOTTINGHAM Djanogly Recital Hall
18.05.95            LONDON Conway Hall
19.05.95            CARDIFF The Point
13.03.99            CARDIFF Chapter Theatre

version for string quartet

duration: 5 minutes
First performed by the Bingham String Quartet at Theatr Mwldan, Cardigan on 30 September 1996
30.09.96            CARDIGAN Theatr Mwldan
25.03.99            LONDON RFH Purcell Room
26.03.99            NARBERTH Queen’s Hall
27.03.99            SWANSEA Taliesin Arts Centre

version for soprano saxophone and string quartet

duration: 5 minutes
First performed by Entr’acte at the Norwegian Church Arts Centre, Cardiff on 26 April 2001
26.04.01            CARDIFF Norwegian Church Arts Centre
27.04.01            ABERGAVENNY Melville Theatre, Drama Centre
28.04.01            PONTARDAWE Arts Centre
03.05.01            FISHGUARD Theatr Gwaun
04.05.01            NEWTOWN Theatr Hafren
01.09.01            SAN JOSÉ Tapestry Arts Festival, California
02.09.01            SAN JOSÉ Tapestry Arts Festival, California
03.09.01            SAN JOSÉ Tapestry Arts Festival, California

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Shut Up and Dance

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version for 12-piece band

s sax, b cl, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

duration: c. 10 minutes

Programme noteThe musical language of Shut Up And Dance is heavily influenced by non-European ideas as well as ‘popular’ dance music. Deliberately, there is no attempt at combining the various strands: African and Brazilian rhythms glide past Indonesian gamelan with the whole supported by African drumming.In one continuous movement, the work remains in the same tempo throughout and consists of alternating verses and refrains. The refrains are scored for full orchestra exploring an endless sequence of chords which strive upwards underpinned by a full array of tom-toms in the percussion section.The title comes from the name of a New York nightclub and was composed in the summer of 1994.

First performed by Charlie Barber + Band at Djamogly Recital Hall, Nottingham University on 7 March 1997
with Simon Stewart (soprano saxophone), Christian Forshaw (bass clarinet), Alan MacDonald (trumpet), John Randall (trombone), David Appleton (piano), Simon Limbrick (percussion), Graham Bradley (percussion), Jeff Moore (violin), Tim Davies (violin), Rachel Stott (viola), Sharon McKinley (cello), Paula Gardiner (double bass)

Press
“A mélange of ethnic styles, mixing African and South American rhythms with Balinese gamelan and neo-classical orchestral textures, it aptly summarised the virtues of the composer’s endearingly eclectic approach.”
Phil Johnson, The Independent 13 March 1997

“Charlie Barber’s own work Shut Up and Dance exhibited the myriad of different influences and styles that have an effect on his composition: Contemporary, Jazz and World music gelled together forming a dazzling array of sound and colour.”
Angela Jennings, Nottingham City Lights, April 1997


07.03.97       NOTTINGHAM Djanogly Recital Hall
08.03.97       CARDIFF Chapter Theatre
14.03.97       LONDON RFH Purcell Room
29.07.99       HAVERFORDWEST Fishguard Festival
14.08.99       BRECON Jazz Festival
18.09.99       LONDON RFH Purcell Room
01.10.99       CARDIFF Chapter Theatre

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Sons d’Afrique (1993, revised 1995)                      

fl, cl, pno, perc, vln, vcl

duration: 10 minutes

Commissioned by the Vale of Glamorgan Festival with funds provided by the Arts Council of Wales

Programme note
Sons d’Afrique is a re-working of traditional songs from the Central African Republic. The first section is based on a harp tune performed by the Nbaka people. The song is associated with rites on the birth of twins and is performed on a large arched ten-string harp. The starting point for the second section is a xylophone pattern from a dance piece in the repertory of the Sabanga people. It is performed on a portable ten-note xylophone which is held in playing position by a strap running around the musician’s neck. The final section is based on sanza music of the Gbaya people. The sanza, or mbira, is an invention peculiar to Africa. Sometimes called a ‘thumb piano’, it consists of a set of metal lamellae of unequal length which are plucked with the thumbs. The main points of interest to me in writing this work were the unusual layout of the pitches in these African instruments as well as the rhythmic content of the music performed on them.

First performed at the Vale of Glamorgan Festival on 27 August 1993
with Kathryn Lucas (flute), David Campbell (clarinet), Andrew Ball (piano), Simon Limbrick (percussion), Madeleine Mitchell (violin) and Christopher Van Kampen (cello)

 

27.08.93           ST DONATS Vale of Glamorgan Festival
17.08.95            ST DONATS Vale of Glamorgan Festival

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The Fall of the House of Usher (2007)

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concert version of film soundtrack

duration: 12 minutes

First performed by Entr’acte

09.02.07            MACHYNLLETH Y Tabernacle
10.02.07            RHAYADER CARAD
11.02.07            BRISTOL Music Club
12.02.07            CHELTENHAM Bacon Theatre
13.02.07            CARDIFFWales Millennium Centre
15.02.07            PWLLHELI Neuadd Dwyfor
16.02.07            HARLECH Theatr Ardudwy
17.02.07            HOLYHEAD Ucheldre Centre
20.02.07            MANCHESTER Royal Northern College of Music
21.02.07            BIRMINGHAM Custard Factory
22.02.07            OXFORD Jacqueline du Pré Music Building
23.02.07            LONDON Lauderdale House

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The Indifferent Affair (1981)  

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performance piece for solo percussionist,
typewriter, table, lamp and tape-delay

duration: c. 10 minutes

Commissioned by Simon Limbrick with funds provided by the Welsh Arts Council

Programme note
The Indifferent Affair uses Jean Cocteau’s cabaret Le Bel Indifferent of 1942 as a basis, turning the original concept inside out. The original play of 1930, La Voix Humaine, is in the form of a telephone monologue in which a desperate young woman talks with her ex-lover, by whom she has been jilted. Barber’s piece is conceived from the male’s angle, the virtuosity of its model being taken one stage further by presenting it as a ‘dumb show’. Here the final severing of the affair is carried out not by telephone, but on a typewriter. (Peter Reynolds)

First performed by Simon Limbrick at the New Half Moon Theatre, London on 25 April 1981

25.04.81            LONDON New Half Moon Theatre
21.08.81            CARDIFF Chapter Theatre
26.08.81            EDINBURGH Chaplaincy Centre (Fringe Festival)
29.08.81            EDINBURGH Chaplaincy Centre (Fringe Festival)

Performances by Dominic Hackett:
04.05.84            CARDIFF Chapter Theatre
05.05.84            CARDIFF Chapter Theatre
15.05.84            COVENTRY Warwick University Arts Centre
16.05.84            HEANOR South East Derbyshire College
17.05.84            BLACKBURN School of Art
18.05.84            STOCKTON Dovecot Arts Centre
20.05.84            DURHAM TrevelyanCollege
21.05.84            HULL Spring Street Theatre
22.05.84            BARNSLEY Northern College
23.05.84            NOTTINGHAM Midland Group
24.05.84            OXFORD Museum of Modern Art
25.05.84            BRISTOL Arnolfini
26.05.84            LONDON Air Gallery

Performance by Phil Girling:
28.01.89            CARDIFF Chapter Theatre

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Thunder Cult Dances (1991)

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(formerly titled ‘Scriptiones ex Africa’)

i.          Husago
ii.         Sovu

s sax, b sax, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, e bass gtr

duration: 12 minutes

Commissioned by Cardiff Festival oif Music with funds provided by the Welsh Arts Council
First performed by Charlie Barber + Band at Chapter Theatre, Cardiff on 17 September 1991
with James Mainwaring (soprano saxophone), Matthew Bailey (baritone saxophone), Jonathan Mainwaring (trumpet), Gwyn Daniels (trombone), Gareth Davies (piano), Phil Girling (percussion), Andy Cookson (percussion), Alison Francis (violin), Richard Treglown (violin), Matthew Roberts (viola), Vicki Higginson (cello), Robin Hames (double bass)

17.09.91            CARDIFF Chapter Theatre
02.02.93            CARDIFF University Concert Hall
20.02.93            BANGOR University Concert Hall
15.02.94            CARDIFF Welsh College of Music & Drama
04.10.95            CARDIFF Festival of Music, Welsh College of Music & Drama
10.10.95            MANCHESTER Royal Northern College of Music
20.10.95            BATH University

Revised version performed by Charlie Barber + Band:
15.03.01            SWANSEA Brangwyn Hall
16.03.01            CARDIFF Great Hall, University Students’ Union
17.03.01            BRIGHTON Sallis Benney Theatre
22.03.01            WREXHAM N.E.W.I. Students’ Union
23.03.01            BANGOR Time/Amser, University Students’ Union
29.03.01            MANCHESTER The Green Room
30.03.01            YORK Fibbers

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Veni Sancte Spiritus (1998) after John Dunstable

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s sax, b cl, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

duration: 6 minutes

First performed by Charlie Barber + Band at St Woolos Cathedral, Newport on 22 July 1998

22.07.98            NEWPORT St Woolos Cathedral
23.07.98            BRECON Cathedral
26.09.98            CARDIFF Llandaff Cathedral
30.09.98            LONDON St Giles Church, Cripplegate
03.10.98            BRNO Exposition of New Music, Czech Republic

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