Piano trio playing Untitled Miniature by Sasha Millwood

Duration: 2 mins 26 secs

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Description:	Listen to the world premiere of Untitled Miniature by Sasha Millwood, live at Madingley Hall on 11 March 2012.

Created:

2012-05-30 09:42

Collection:

Madingley Concerts

Publisher:

University of Cambridge Institute of Continuing Education

Sasha Millwood

Language:

eng (English)

Keywords:

Madingley; music; piano trio;

Credits:

Performer:	Lydia Murphy
Performer:	Hugo Popplewell
Performer:	Gabriella Flatt
Composer:	Sasha Millwood


Abstract:	Untitled Miniature by Sasha Millwood received its world premiere at Madingley Hall on 11 March 2012, where it was performed by a piano trio alongside works by Beethoven and Ligeti. The piece is an unsettled deformation of the moto perpetuo. The fast tempo and incessantly temperamental rhythm imbue the work with a relentless quality, yet this is undermined by the fragmentary nature of many of the phrases and the thin texture, whereby the pianoforte is treated largely like another melodic instrument, only with a larger range. The middle section, demarcated by Golden ratios, constitutes a slightly calmer and more lyrical interlude underpinned by a drone that drifts amongst the three instruments. Although this is probably the most consistent allusion to a tonal centre (D), it does not pass uninterrupted. The work is constructed largely on unresolved dissonance and atonal symmetries.

Abstract:

Untitled Miniature by Sasha Millwood received its world premiere at Madingley Hall on 11 March 2012, where it was performed by a piano trio alongside works by Beethoven and Ligeti. The piece is an unsettled deformation of the moto perpetuo. The fast tempo and incessantly temperamental rhythm imbue the work with a relentless quality, yet this is undermined by the fragmentary nature of many of the phrases and the thin texture, whereby the pianoforte is treated largely like another melodic instrument, only with a larger range. The middle section, demarcated by Golden ratios, constitutes a slightly calmer and more lyrical interlude underpinned by a drone that drifts amongst the three instruments. Although this is probably the most consistent allusion to a tonal centre (D), it does not pass uninterrupted. The work is constructed largely on unresolved dissonance and atonal symmetries.

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