Performed by Alrick Archambault (violin), Zoé Saubat (violoncello) and Pauli Jämsä (piano) at the Cully Classique Festival in Cully, Switzerland

Programme Note:
The overall form of (W)Edge is one of constant expansion. Each section becomes increasingly slower and quieter than the last as the instruments emerge and impact their surrounding electronic environment, creating an interplay of immersion, space and distance. The piano trio is in a sea of bubbling and gliding sine waves, that drift from one harmony to the next. Constant and expanding shapes, or 'wedges' repeat throughout the piece: each electronic glissando towards a new harmony is framed by a crescendo in the violin and cello, the piano strikes at the arrival of this new chord, and the strings colourize the decay of the piano back into the electronics before the next wedge begins. The piece follows a single trajectory into complete stasis and silence. Inspired by the 'Wedgework' installation lightwork series by American artist, James Turrell.









Performed by Antoine Francoise in Geneva, Switzerland
Dedicated to Frances 'Pearlie' Mannion (b.1918 d.2012)

Programme Note:
The inspiration for 'Pearly' came when revisiting German artist, Anselm Kiefer's lead sculptures involving books, particularly Buch mit Flügeln (Book with Wings),
1992-94. The apparent earthly weight of this gargantuan sculpture seems to contradict the divine messages of the artist's book; "…it ponders a civilization in search of spirituality but grappling with the weight of its human condition, beyond cultures and religions […] is uplifting with its wings, yet earthbound with its thousands of kilograms of weight." This duality of these concepts filled my mind with ideas of transmitting heavenly messages across earthly planes and decided the binary structure of the work.

I want to deliver the listener to a serene and unhurried landscape. Flashes of light and 'morse code' transmit an unchanging message between the piano and electronics; gently pulsing harmonies evolve but frequently usher in silence. In the second section both piano and electronics crescendo to reach a stentorian F sharp major chord that closes the work like the toll of an enormous bell, evocative of the earthly materials used in Kiefer's original sculpture.