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| Michael Finnissy :Two Uncharacteristic Marches and a Trio | |
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"I don't usually write MARCHES, and to do so, at all, is UNCHARACTERISTIC""The pieces come from a longer miscellany called 'Domestic and Salon Pastimes', which re-examines smaller than concert-scale music making, for example 'in the home' or 'in the garden'. Such (often amateur, in the sense too of being done solely because one 'loved' doing it) music making was more common in the 19th century, and - in Schubert - one meets pieces (for piano duet) called "Characteristic March". I wouldn't be able to say that writing Marches was a frequent enough activity for me to be engaged in that they could be called 'characteristic'. As I'm not really interested in militarism and the stuff that goes with it, these Marches are also 'uncharacteristic' of Marches in general...deliberately."
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Michael Finnissy (born 1946, Tulse Hill, London) was a Foundation Scholar at the Royal College of Music, London, where he studied composition with Bernard Stevens and Humphrey Searle, and piano with Edwin Benbow and Ian Lake. He created the music department of the London School of Contemporary Dance and has been associated as composer with other dance companies, including London Contemporary Dance Theater, Ballet Rambert, Strider, and Second Stride. He has been featured composer at Bath, Huddersfield and Almeida festivals; his work is widely performed and broadcast worldwide. As a pianist, he is particularly associated with the commissioning and performing of new British work; composers who have written pieces especially for him include James Dillon and Oliver Knussen. From 1990-7 he was the first British President of the International Society of Contemporary Music (ISCM) Michael Finnissy currently teaches at the Universities of Southampton and Leuven.
title |
forces |
publisher |
| Anima Christi | choral work with amateur choir and 3 professional soloists: organ, counter-tenor, tenor. |
UMP |
| Australian Sea Shanties | choir of 2 female,1 male voices | UMP |
| Bright future ignoring dark past | piano trio: violin, cello, piano | OUP |
| East London Heys | various instrumentations largest version for strings : 3 violins, 3 violas, 3 cellos; Smallest: 2 violins, 2 'cellos. Also for wind quintet |
UMP |
| Judgement in that day | flute, clarinet, piano, violin, viola, cello | OUP |
| L'Union Libre | mixed ensemble, various possible instrumentations, professional
soloists required for 1 or 2 piano-parts, accordion, viola, and E flat clarinet/sax/alto-horn, easier parts for ocarinas, zithers and bass-drums |
OUP |
| Maldon | choral work with amateur choir and organist, with 5
professional soloists: baritone, 2 trombones,2 percussionists |
OUP |
| Plain Harmony | free instrumentation | OUP |
| Wee Saw Footprints | piano | OUP |
| other piano pieces collected in Volumes 1 and 2 of 'Shorter Piano Pieces'. | piano | OUP |
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