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SELECTED MUSIC BY JANE WELLS
ORCHESTRAL
Playing The Game
(2004) for symphony orchestra, (3,2,3,2 with doublings;
4,3,2,1; minimum 10,10,8, 8,4; and 3 percussionists),
performed by Essex Symphony Orchestra/Antoine Mitchell in
Chelmsford. Dur.c16 mins. Commissioned by Making Music.
“…a fascinating exploration of the games of children – and grown-ups – play. Sampled playground shouts and laughter were woven into the fabric and the children’s voices also inspired the rhythms and the intervals of the music…” Chelmsford Weekly News
Sea Change
(1995) for chamber orchestra incorporating the instruments
of a rock band (2,2,2,0; 0,1,1,0; 4,4,4,2; tenor sax,
electric gtr, electric bass and 2 perc - 1 on kit). Arts
Council bursary-funded. Dur.c15 mins.
In These Places
(1988) for alto saxophone and symphony orchestra (alto
saxophone+3,3,3,3; 4,4,4,1; full strings; percussion/3
players), performed by John Harle/Norfolk County Youth
Orchestra/Adrian Brown in St Andrew’s Hall, Norwich. Dur.
c15 mins.
CHORAL
The Singing (2006) Revision from 1989 piece for four part choir with violin. Words by Siegfried Sassoon. Dur. c4 mins. First performed at a Norfolk singing day March 2006 by 20 voices with violinist Steve Bingham.
Air Kissing**
(2000), for alto solo, male speaker, around
30-strong mixed chorus (ideally mixed ‘music-reading’ and
‘by ear’ singers), 3 saxophones and several mobile phones.
Words by poet George Szirtes. Dur.c40 mins.
To The Turning Of The Millenium
(1990) for baritone solo, childrens choir and ensemble (2 cl,
vln, pno, perc, tape) performed by Geoffrey Davidson/80
children/Ensemble X at Norwich Arts Centre. Subsequently in
the King’s Lynn Festival. Dur.c22 mins.
MUSIC-THEATRE
Here’s What I Saw
(1997) for soprano, actor/singer, double bass/speaker,
dancer, Bb/bass clarinet, ‘cello). Performed as half of a
double bill by Intermedia East at Stamford Arts Centre as
part of the Year of Opera and Musical Theatre. Text by Tony
Baker. Dur. c45 mins.
SOLO VOCAL
Sometimes (1983) for soprano, performed by Eva Bruun
Hansen at The Place, London. Dur.c4 mins.
VOCAL WITH INSTRUMENTS
Time Song*** (2008) for counter-tenor, recorders (treble/tenor) and ‘cello. Written for Nicholas Clapton, John Turner and Jonathan Price with funds provided by the RVW Trust. Part of composer, Elis Pehkonen’s ‘David Munrow’s Bells’ CD recording project. Dur.c7mins.
Mondays Child* (1998) for soprano, flute, clarinet, bass
clarinet, viola, ‘cello, double bass and percussion. Dur. c12 mins.
One To Another
* (1992) for soprano, clarinet, bass
clarinet, viola, ‘cello, double bass. Written for Mary
Wiegold and the Composers’ Ensemble as part of her song
book. Lyrics by composer. Dur. c4 mins.
The Singing.... (1989) for soprano, clarinet, alto saxophone
and audience voices. Performed by Mary Wiegold and
instrumentalists at the Wells Arts Centre, Norfolk, and at
Dartington. Summer School. Words by Siegfried Sassoon. Dur.
c5 mins.
Artemis
(1986) for soprano, flute, guitar and piano/woodblock.
Performed by Primavera at The Place, London. Dur. c4 mins.
On And Off The Maps
(1984) commissioned by Intermedia for soprano, Bb/bass
clarinet, guitar, trombone and double bass with two video
tape playback. First performed in the 2nd Festival of
Performance at South Hill Park Arts Centre, Bracknell.
Subsequent performance in the Brighton Festival. Made in
collaboration with video artist, Steve Hawley. Dur. c24
mins.
There Is A Light
(1981) for soprano and piano duet performed by Alison
Horriben at the British Music Information Centre. Dur. c6
mins.
Under The Redwood Tree
(1979) for soprano, 2 clarinets, ‘cello, double bass and
percussion. Performed in the ICA MusICA series by Karen
Jensen/Lontano/Odaline de la Martinez. Words by Elizabeth
Smart. Dur.c15 mins.
“sturdily put together and logically proportioned........”
New
Statesman.
Reflection
(1977) for 3 voices (soprano, mezzo, alto), flute, Bb
clarinet, cor anglais, violin, viola, ‘cello, percussion.
Performed at the Guildhall School of Music, London by the
Park Lane Music Players/John Carewe. Words by Thomas
Hardy. Dur.c9 mins.
INSTRUMENTAL
Occasional Dancing (2009) for treble recorder, commissioned by John Turner for inclusion in a Grade 8 level publication of solo recorder pieces. Dur. c4 mins.
On The Hoof (2008) for soprano and alto saxophones, accordion, trombone and percussion. Composed for Hoofbeat Street Band. First performed in Dereham Festival May 2008. Dur.c2’.
Mathmatrix (2007) for saxophone quartet. Written for the Regis Saxophone Quartet. Dur.c6 mins.
In Search of the Perfect Third (2006) for violin and ‘effects’. Written for Steve Bingham. Dur.c4 mins.
Air Field (2005) for soprano/alto saxophones (1 player), ‘effects’ and CD playback. Commissioned for, and performed at, Seething Air Field, Norfolk in July 2005 by the composer as part of a multi-art form project. Halesworth Festival 2007 performance with choreography by Caroline Mummery. Dur. c18 mins.
Choose Me** (2003) for 2 soprano saxophones featuring
approximate quarter-tone tunings. Also a version for 1
soprano saxophone and tape performed by the composer at The
Loft, North London. Dur.c8mins.
Above and Below
(2002) for soprano saxophone, ‘cello and keyboard (featuring
quarter-tone tunings) composed to be played alongside the
showing of mixed media artwork by Bob Billington. Performed
by On The Edge Ensemble in a concert at Salthouse Church,
North Norfolk. Dur. c9 mins.
Times Be Fragile
(2001) for six or seven
performers playing violin, guitar or viola and
cello, double bass, piano or keyboard, tuned
and untuned percussion. Performed by Original Signature in a
Rural Arts East tour, Norfolk, as part of the Year of the
Artist. Dur. c10 mins.
People and Places*
(1995) for a flexible trio eg flute, viola,
‘cello or violin, viola,’cello. Commissioned
by the East of England Orchestra for use in their education
programme (the three movements can be played separately - c3
mins/5 mins/4 mins). Dur. c12 mins.
Ultramarine*
(1991) for alto saxophone and ’effects’ (reverb unit plus
modest stereo sound system). Performed by Original
Signature as part it’s Rural Arts East tour (see Times Be
Fragile above). Dur.c6 mins.
Wherever Next
*(1990)
for flexible trio eg trumpet, bass clarinet and piano
or soprano saxophone, tenor saxophone and keyboard
or oboe, basson and piano First performed
by Sounds Positive at the Purcell Room, London. Dur.c4 mins.
Take It In Turns (1982) for four clarinets with doublings. Commissioned by The Entertainers Clarinet Quartet and performed at Goldsmith’s College, London. Dur. c12 mins.
“The piece explores the potential of the instruments imaginatively”
Music & Musicians
Composition
(1980) for clarinet quintet commissioned by the Worfield
Charity Concert Trust. Performed on a number of occasions
including at the Norwich Festival. BBC Radio 3 broadcasts by
Ian Mitchell with the Amphion String Quartet. Dur. c13 mins.
Duet
(1979) for piano duet. Performed at the October Gallery in
London by Michael
Finnissy and Peter Lawson in an SPNM Forum
and Recording. Dur. c8 mins.
“none of the pieces proved less than thoroughly accomplished....”
Telegraph
Jack-In-The Box
(1978) for flute, clarinet, viola and ‘cello. Performed in
the Purcell Room by Gemini/Peter Wiegold as part of an SPNM concert. Dur. c14 mins.
“there was an intriguing semi-theatrical piece by Jane Wells....”
Guardian
ADULT SINGING GROUPS
UNACCOMPANIED CHORAL WITH RANGE TO SUIT ‘UNTRAINED VOICE’
SINGERS LEARNING MUSIC ‘BY EAR’.
Stormy Nights/Spring Rain (2008), two short companion pieces, in 2 parts. Settings of a child’s poem and a Japanese text in translation. First performed by the Big Heart & Soul choir. Dur.c3 mins.
Crossing The Line (2008), 3 parts. Lyrics by Sarah Retallack. Performed as part of Norfolk Music Works’ ‘swimming pool’ project. Dur.c4mins.
Sneezing Song
(2000), 3 parts. Trad. lyrics. Performances
in Lincolnshire. Dur.c3 mins.
Driving Slow (1996), 4 parts. Lyrics by Sarah Retallack.
Performances in Lincolnshire and Norfolk. Dur.c3 mins.
Just Sitting
(1996), 3 parts. Lyrics by Sarah
Retallack. Dur.c3 mins
CHILDREN: CHORAL AND INSTRUMENTAL
Sneezing Song
(2000) see SINGING GROUPS above. Commissioned
by West Walton Primary School for their senior choir
of children and adults.
Spirit of the Castle
(1994) for voices and piano. Written as a framework song for
a creative project involving over 100 children at Norwich
Castle Museum. Lyrics by the composer. Dur. c4 mins.
World Round (1988) for voices, keyboard, bass guitar and
drumkit. Commissioned by Litcham Primary Schools
Federation. Words by Sandy Wilson. Dur. c4 mins.
Music for Recorders and Percussion
(1987) for variable sized descant/treble/tenor recorder
ensemble and drum/cymbal (I player). Commissioned by the
Kings Lynn Saturday morning school. Dur. c4 mins.
MUSIC COMPOSED AS PART OF
THEATRE, FILM, DANCE AND PUPPETRY PRODUCTIONS
John Knowlittle (2007) music (voices and violin) and soundtrack for a puppet show toured extensively to an elderly audience by Nutmeg Puppets. Puppets by Meg Amsden.
Don Quixote (2002), incidental music (singers, guitar, lute, keyboard and percussion) for a full evening play directed by John Harrison with the Open Stage Company and performed at the Auden Theatre, Holt, Norfolk.
“The specially composed music was wonderfully evocative
and beautifully played...” EDP
Electra
(2001), music (saxophones, metal percussion and reverb unit
‘effects’) closely integrated into a small-scale full
evening production directed by Andy Naylor of the classic
play. Performed River Studios, Westacre, Norfolk.
A Butterfly Rover
(1998), music (live voice and taped percussive score) for a
puppet show toured extensively to an elderly audience by
Nutmeg Puppets. Puppets by Meg Amsden, script/direction by
Boris Howarth.
The Storyteller
(1993), music (oboe and found sounds) for a short film shown
in Anglia TV’s First Take series, first screened 1994
Cambridge Film Festival. Written/directed by Kate Polak.
Haughmond Dances
(1990), music (soprano, baritone, adult and child choirs,
brass quartet, keyboard, percussion) composed with
dance/overall direction by Rosemary Lee. Performed as an
out-of-doors, site-specific event in Shrewsbury with a cast
of over 200.
H.U.P. (1987), music (soprano/tenor saxophone, viola, ‘cello, keyboard) devised in collaboration with choreographer, Sue MacLennan, and visual artist, David Ward. Half-evening work performed by Sue MacLennan’s Occasional Dance Co at the Bluecoat, Liverpool, on tour and at Riverside Studios, London.
“Ideas.....were the inspiration of the choreographer and the composer. They have both come up with contributions which are strange but attractive, quirky and lively. These build from tiny units, a gesture or a note, into sequences which each explore individual moods or themes, and which shape themselves into a cohesive, convincing and pleasing whole” The Times.
The Scattering Matrix
(1985), music (saxophones, keyboard, tape) composed in collaboration with musician, Edward Pillinger, choreographer, Sue MacLennan and video artist, Peter Anderson. Commissioned by Intermedia and performed as a whole evening’s work at the ICA, London, in a Dance Umbrella Festival. Word extracts from Virginia Woolf and Fritjof Capra.
“The music of Jane Wells and Edward Pillinger was outstanding.....”
New Dance Mag
Recline
(1984), music (tape of vocal, instrumental, and ‘found’
sounds) composed for choreographer, Shelley Lee and Basic
Space Dance Theatre. First performed at the Edinburgh
Festival as part of a full evening’s dance programme, then
on tour.
Working It Out
(1983), music (performed live by one player doubling
C/Bb/bass clarinets, soprano/alto saxophones with tape)
commissioned by Ludus Dance-in-Education Company and first
performed in Wigan by musician, Edward Pillinger, then on
tour in GB and abroad. Entire piece 50 mins.
De Gas
(1981), music (oboe and tape) commissioned by choreographer, Ian Spink, for his company and played by Christopher Redgate. Broadcast on Channel 4 TV, toured in Great Britain, performed in New York and later taken into the repertoires of Second Stride and Basic Space Dance Theatre.
“Jane Wells’ score, for recorded tape and on-stage oboist, is equally good; Christopher Redgate’s happy participation in the action reinforces the effect of his playing”
The Times
“...set to a witty score for oboe and dripping water.....”
New York Times
Five Sided Figure
(1980), music (small percussion) composed in collaboration
with Mark Turner and Peter Wiegold. Commissioned by the
Rosemary Butcher Dance Company and performed by the
composers at Riverside Studios, London. Part of a full
evening of dance.
Dances For Different Spaces
(1979, music (electronic tape of treated voice) commissioned
by the Rosemary Butcher Dance Company and first performed in
a church in Paris. Part of a full evening of dance .
*Metier label MSV CD92043 Occasional Music/Composers Ensemble/Peter Wiegold
**promotional CD ‘Three composers living in East Anglia’
***Campion Cameo label CAMEO 2082 Pied Piper /John Turner and Ensemble
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