Funding for new composition studio from The Composers’ Fund
I applied to The Composers’ Fund as I was looking to build a composition studio in my garden. Having a young child loose in the house makes it impossible to focus properly on composition. I plan to build a suitable workspace where I can work free from distractions, not only during the day, but also in the evenings when it is not possible to try out ideas on the piano without waking my son.
I am extremely grateful to The Composers’ Fund for generously contributing towards the cost of building a composition studio in my garden. Having such a workspace will enable me to refocus on composition following the birth of my son, as it will allow me to work free from distractions.
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BBC Radio 3 Record Review: April 2016
Gillian Moore: So that was the big majestic opening Panufnik theme and the first variation, the scurrying virtuosic Colin Matthews following on, there’s a lot of good stuff in these variations…I was also taken with Elizabeth Winters’ variation.
Andrew McGregor: That was one of my favourites as well, because there is almost a kind of pointillistic sound and glistening high strings as well, it was very effective.
Gillian Moore: Exactly, very witty and characterful.
Rarescale Interview: October 2014
BBC Radio 3 CD Review: 22 June 2013
Sudden Squall, Sudden Shadow chosen by Gillian Moore as one of her highlights from the new LSO CD: The Panufnik Legacies.
“There’s a lot to enjoy in this piece. It’s a very pictorial piece, it’s inspired by a haiku, a Japanese poem, which describes a sudden squall followed by the hidden shadow, and it’s full of contrasting images, and we have skilful use of the orchestra in this piece, to create all the contrasting colours and images, as well as a very appealing and assured sense of harmony.”
Concert review: Set in Motion for solo cello
“In a first for the festival, cellist Philip Higham gave a candlelit late-evening solo recital in the atmospheric surroundings of St Michael’s Church, Discoed. Amongst the anticipated repertoire of Suites by Bach and Britten, Higham gave the premiere of yet another festival commission, Set in Motion by Elizabeth Winters. This compact piece was based on two contrasting ideas, one lyrical, expansive and consciously idiomatic, the other restrictive and percussive, using repetitive material. As the work unfolds, the more intrinsically cello-like writing becomes gradually forced out of the score by the increasingly dominant repetitive idea, which celebrates its triumph by concluding the work unopposed. Philip Higham gave an authoritative first reading of a skilfully written piece that managed to incorporate convincingly opposing virtuosic and instrument-friendly styles by the simple expedient of making those very disparate modes of expression the substance of the material itself.”
Paul Conway (Tempo Magazine, January 2013)
Concert review: Playing with Destiny for Wind Band
“Playing with Destiny had a bold opening with an immediate and highly original harmonic language. The effect of the sound world was big and solid: intense horn chords were brilliantly contrasted with striking percussion chords. The louder sections gave way to quieter moments although the intensity of the piece never waned. Doubling of unusual instruments such as cor anglais and bass clarinet deepened the mysterious world. Although it was clear that the score had its challenges, I think the Lambeth Wind Orchestra peaked extremely well, rising to the challenge of the music to which I gave generous applause. I have no doubt in my mind this piece should go on to allow other wind orchestras the world over to enjoy a new and highly original piece of music.”
Shea Lolin (British Association of Symphonic Bands and Wind Ensembles Magazine, Spring 2011)
British Composer Awards 2009: The Serious Side of Madness
The jury were “intrigued and delighted by the sound world of the winning work. In a large and diverse field, it stood out for the composer’s fine ear and excellent technique. Easily playable by amateurs, in the judges’ view, it was nonetheless clearly a serious and effective concert work.”
Comments from the Jury, 2009 British Composer Awards