The Metropolitan Symphony Orchestra (MetSO) is holding their Young Artists Gala concert at Government House Ballroom on Sunday February 26. This special event will feature the talented MetSO Young Artists in solo performances, the MetSO Wind ensemble performing Strauss’ Serenade in E flat Major, Op. 7, and the world premiere of the “Karrinyup Fanfare” composed by MetSO Concertmaster Ben Clapton.
The concert showcases the talents of the MetSO Young Artists who have performed with the orchestra in 2022 and will now take the spotlight by themselves. The orchestra will also be announcing their new MetSO Young Artists, as well as celebrating new life memberships awarded by the orchestra’s patron, His Excellency the Honourable Chris Dawson APM, 34th Governor of Western Australia.
In addition, the MetSO Winds will perform the Serenade in E Flat Major, Op. 7 by Richard Strauss, one of the most celebrated composers of the romantic era. The ensemble, made up of flutes, oboes, clarinets, bassoons, horns and tuba will bring to life the rich, complex textures and harmonies of Strauss’ music.
The concert will open with the world premiere of the Karrinyup Fanfare, a new composition by MetSO Concertmaster Ben Clapton. This exciting new work inspired by the orchestra’s history and future will be an exciting way to start an afternoon that celebrates local talent.
Don’t miss this opportunity to hear the exceptional musicians of the MetSO in concert at the Government House Ballroom. Tickets are limited, so act now to experience the beauty and power of live classical music.
So while I was browsing for some new sounds to play around with, I noticed that Spitfire Audio was holding a competition – score a scene from the new season of Westworld, and potentially win the complete collection of Spitfire Audio sounds.
This is my first attempt at scoring to film, and it was fun to explore this area. I utilised a rhythmic and harmonic ostinato to help build tension, rising in pitch and tempo as we build to the climax. I tried a few different things at the end, including the final bars of Mahler’s Resurrection Symphony – it was close, but not quite what I was trying for, so I utilised his instrumentation and voicing for the final chord, and adjusted it so that it fit thematically with what I had been building towards.
A minimalist piano piece inspired by a road trip across the Nullabor, the stretch of road between Adelaide and Perth in Australia.
After an interrupted start, it expands into a molto perpetuo that depicts the continuous movement as you drive across this large continent. It expands, and changes in style, yet there is familiarity through the sections. It then cuts – almost abruptly – into a slower, reflective space. Driving across for the first time, there is a sense of awe that comes at certain parts, as you reflect on what you are doing. But that reflection can’t last forever, and it transitions back into the molto perpetuo once again. The piece closes with more reflection, remembering the incredible journey.
This piece would be excellent for a recital or performance. Length: 13-14 minutes. If you are performing this piece, please let me know through my socials – Ben Clapton Music on all the platforms – or as a comment below – so that I can send through some encouragement.
Solo Piano Composition. List Price: US$6.97.Buy it here.
For String Quartet and Narration. Composed 2014. 4 Movements. AUD$40.
A number of years ago now, when I was 21, I was housesitting over Easter. I watched The Passion of Christ on Good Friday. Through watching it, and thinking about music (as I was want to do at the time, studying Classical Music), I realised that there weren’t many compositions that explored this idea of the Stations of the Cross. While there are many examples of pieces relating to Easter, such as Bach’s St Matthew Passion or St John Passion, I couldn’t think of any that actually combine the stories as is found in the Stations of the Cross. Part of the reason is probably because many versions of the Stations of the Cross include extra-biblical material – that is, parts that have been accepted into the stations through tradition, and weren’t actually biblical. So I decided that I would start writing a piece based upon the Stations of the Cross.
First, I found a version of The Stations of the Cross to follow, which was the one that Pope John Paul II followed in 1991, which I chose because the 14 stations were based on passages from the bible narratives. Of the 14 passages, there’s 3 from Matthew, 3 from Mark, 5 from Luke, and 3 from John. I decided to write for String Quartet and Narration, mainly because I knew how to write for strings, and would be able to utilise the colours and effects effectively to evoke the text. In terms of overall arrangement, I decided that it would work best in 4 movements – the first covering the first 6 stations, then the second with stations 7 to 9, the third with stations 10 to 12, and the final movement with stations 13 and 14.
I originally wanted to base this work from a relatively popular translation of the text, however the number of verses was more than their fair use policy allowed, and upon seeking out permission to use it, I was going to be charged a large amount to use the text, for a licence that would only last 3 years. (As it’s been 7 years since I started this, I’m glad I didn’t shell out the money). As such, the text comes from the Open English Bible, an “open source” Bible released into the public domain. The Narration is notated, but is only intended as a guide as to where it starts, and roughly where it finishes. The narration is intended to sound as natural as possible, but lining up with the elements in the music.
I started by writing prose notes to describe my thoughts as to how each of the four movements would come together. The notes that follow are largely based off those notes, along with what it actually ended up as. Continue reading “The Stations of the Cross”→
It’s been a while since I published anything from my field of study (Music Research). That’s because I’ve been researching something groundbreaking that will change our idea of music forever Continue reading “Bach was a fraud!”→