Tristan Brookes
Tristan Brookes was born in Oxford in 1986. He graduated from King’s College London in 2007 where he studied composition, analysis and musicology. From 2007 to 2008 he studied with Jonathan Cole at the Royal College of Music. Recent projects and performances include “Threads”, for amplified viola and 7 loudspeakers, performed by Robert Ames at the Bishopsgate Institute, London in June 2009; “SERRA: PESSOA”, for large ensemble, composed as part of the London Philharmonic Orchestra’s 2010 Young Composers Project, performed at the Queen Elizabeth Hall (14th May, 2010); and “Ur”, for ensemble and live-relayed sounds, performed at Snape Maltings by the London Contemporary Orchestra as part of the Faster than Sound project (15th May, 2010). Future projects include a new work commissioned by the impuls Composition Competition, to be performed in Graz by the Klangforum Wien in February 2011.
Ann (work in progress), for 11 players
Ann is named for the novelist Ann Quin. The more I read Quin's work the more I become aware of some sort of connection between her writing and what I hope to achieve in my music, to the extent that I am sometimes convinced of a mysterious, impossible and deeply personal relationship.
The core of this connection is veiled, ineffable. It is perhaps best suggested by a few structural observations:
. forms that echo experience (reality?)
. description/suggestion/reflection of colour, movement, sound
. the haunting presence of intersecting voices
. a veil of grey momentarily opening to reveal submerged, iridescent colour, colour which, on closer inspection, was always contained in the grey
I hope to achieve something fluid; something in perpetual flux yet with an underlying rhythm; something with a feeling of uncanny repetition; something somehow cyclical rather than linear.
Hours become hands. Impressions stain. Spread. Recollections. Angels caught in a mirror. Spaces between clouds
tide-marks. Never rubbed out
(THREE)
This is a work in progress, and while some aspects must remain constant, details are open to the possibility of change...
(Tristan Brookes)
Ann is named for the novelist Ann Quin. The more I read Quin's work the more I become aware of some sort of connection between her writing and what I hope to achieve in my music, to the extent that I am sometimes convinced of a mysterious, impossible and deeply personal relationship.
The core of this connection is veiled, ineffable. It is perhaps best suggested by a few structural observations:
. forms that echo experience (reality?)
. description/suggestion/reflection of colour, movement, sound
. the haunting presence of intersecting voices
. a veil of grey momentarily opening to reveal submerged, iridescent colour, colour which, on closer inspection, was always contained in the grey
I hope to achieve something fluid; something in perpetual flux yet with an underlying rhythm; something with a feeling of uncanny repetition; something somehow cyclical rather than linear.
Hours become hands. Impressions stain. Spread. Recollections. Angels caught in a mirror. Spaces between clouds
tide-marks. Never rubbed out
(THREE)
This is a work in progress, and while some aspects must remain constant, details are open to the possibility of change...
(Tristan Brookes)