Piano trio playing '…shapes like big machines rose out of the dimness…' by Gregor Forbes

Duration: 2 mins 10 secs

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Description:	Listen to the world premiere of '…shapes like big machines rose out of the dimness…' by Gregor Forbes, live at Madingley Hall on 11 March 2012.

Created:

2012-05-30 09:47

Collection:

Madingley Concerts

Publisher:

University of Cambridge Institute of Continuing Education

Gregor Forbes

Language:

eng (English)

Keywords:

Madingley; music; piano trio; H G Wells;

Credits:

Performer:	Lydia Murphy
Performer:	Hugo Popplewell
Performer:	Gabriella Flatt
Composer:	Gregor Forbes


Abstract:	'…shapes like big machines rose out of the dimness…' by Gregor Forbes 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. This piece is based on a continuous piano ostinato, which breaks through the silence only at certain moments. The ostinato is based on four successive pitch areas – C sharp, E, G and B flat – and increases in length and intensity with each one. By contrast, the violin and cello gradually move from harmonics to melody and, finally, percussive sounds. Their material is improvisatory, but still firmly based on the piano ostinato. The piece is an exploration of the relationship between the organic and the mechanic, the above ground and the underground. The title is a quotation from The Time Machine by H G Wells.

Abstract:

'…shapes like big machines rose out of the dimness…' by Gregor Forbes 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. This piece is based on a continuous piano ostinato, which breaks through the silence only at certain moments. The ostinato is based on four successive pitch areas – C sharp, E, G and B flat – and increases in length and intensity with each one. By contrast, the violin and cello gradually move from harmonics to melody and, finally, percussive sounds. Their material is improvisatory, but still firmly based on the piano ostinato. The piece is an exploration of the relationship between the organic and the mechanic, the above ground and the underground. The title is a quotation from The Time Machine by H G Wells.

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