Sam Hayden: Solos/Duos
This album features world premiere recordings of some of Sam Hayden’s most significant acoustic music for solos and duos, performed by an array of internationally renowned contemporary music specialists.
The works on this album span three decades, from the earlier works, the lyrical picking up the pieces for solo violin and the angular textures of AXE[S] for solo guitar (both from the 1990s), to the much more recent attente for solo flute, remnants I for solo contrabass clarinet, frammenti di divenire for soprano and baritone saxophones, and remnants III for cello and piano (all composed since 2018) representing something of a hybrid of approaches from traditions of spectralism and complexity. A feature of this album is that most of the works were developed in close collaboration with the performers who appear on the album, making full use of their exceptional virtuosity and a deep engagement with specific sonic characteristics of the instrument(s).
Sam Hayden is a composer whose work contains much diversity and variety in its modernism; he is currently Professor of Composition at Trinity Laban Conservatoire in London. He has received commissions recently from a substantial number of ensembles and soloists, from the BBC Symphony Orchestra and London Sinfonietta to ensembles around Europe.
Track Listing
- frammente di divenire (4:01)
- attente - I (7:19)
- attente - II (4:58)
- attente - IIIa (2:27)
- attente - IIIb (3:20)
- remmants I (7:25)
- remnants III (11:40)
- picking up the pieces (14:51)
- AXE[S] (28:36)
Sam Hayden:
Reviews
“Is it recommended? Yes. The all-round excellence of these performances is matched by the focus and immediacy of the sound in each instance, together with detailed while not unduly abstruse notes from the composer. Those coming to his music afresh are not likely to remain emotionally uninvolved.
” —Richard Whitehouse
“This is pretty easy to listen to; appreciating it and getting lost in the music may be a little harder. This is out on classical label Metier (part of Divine Art) but it’s practically sitting at the same table as Abdou Boni [a jazz album also reviewed]. The programme “contains much diversity and variety in its modernism” add the sleeve notes in something of an understatement.
” —Jeremy Condliffe