Instrumental: Solo & Duo
| Work | Instrumentation | Work Duration |
|---|---|---|
| Sin Luz |
| 3min 45sec |
| De La Luz |
| 3min 40sec |
| En Las Sombras |
| 4min 30sec |
| Little Jig |
| 30sec |
| Liena |
| 2min 30sec |
| Encore de Lírico |
| 3min 30sec |
| Nature's Mirages |
| 5min |
| Poems I, II, III |
| 6min 40sec |
| Summer Beckons |
| 3min |
Browse Scores
Sin Luz
Sin Luz – without light. Sublime and introspective with a lamenting, heartfelt melody and a broody harmonic palette. Commissioned as part of a set of contrasting works for guitar by John Couch. The piece emerged during a time when the composer was feeling completely lost - her husband was seriously ill in hospital and doctors told her that he may potentially die. The seriousness of potentially losing him and the devastation one feels when confronted with that situation is at the heart of this piece.
The sister piece in the set is De La Luz. The composer has now also created a piano version of this work.
De La Luz
De la Luz – in the light. Delicately unfolding with hints of jazz and folk sensibilities. This piece accompanies Sin Luz as part of a set of contrasting works for guitar by John Couch. Given the beauty and popularity of this piece, the composer has since re-arranged it for other instruments and re-named these versions as Encore de Lirico to distinguish them from the original solo guitar version.
En Las Sombras
En Las Sombras – in the shadows. Full of passion and driving rhythms, with interesting meter changes. Technical features include palm muting and rasgueado. Premiered in 2019 by Australian Guitarist Matt Withers, and recorded by him for future release.
Little Jig
A delightful little jig! Has some (not too difficult) LH pizzicato.
Liena
Commissioned by Australian harpist Liena Lacey, this contemporary classical piece has flavours of Jazz, Latin, and Piazzola, making this a truly unique and beautiful piece for pedal harp. A piano arrangement of this piece is also available.
Encore de Lírico
Originally conceived as a solo guitar work for John Couch titled De La Luz - In the Light as part of a set with a sister piece titled Sin Luz - Without Light.
With a feeling of quiet affirmation, the piece delicately unfolds with hints of jazz and folk sensibilities. Given the beauty and popularity of this piece, the composer has since re-arranged it for other instruments and re-named these versions as Encore de Lirico to distinguish them from the original solo guitar version.
Nature's Mirages
The benefits of taking time to slow down and ‘hit reset’ continue to be increasingly recognised.
Australian guitarist Steve Allen commissioned a number of composers to write reflective music inspired by calmness, stillness, rest, and peace. These works were released as a CD collection of original Australian music that helps the listener to become more relaxed and present.
Nature's Mirages was featured in ABC Classic Flow "Finding Sweet Balance" podcast.
Poems I, II, III
Poems [I, II, III] is a collection of 3 short works for violoncello and piano have been inspired by Reynaldo Hahn's exquisite French mélodie pieces. Every note has been carefully written to paint the warmth of expression: a whisper or a tenderness, deep sorrow or the beauty of stillness. There are little moments of shimmering piano accompaniment reminiscent of the music of Philip Glass, which supports the lyrical cello voice. Due to many requests from violinists and flautists (etc.) the composer has since re-scored the work for other instrumental settings.
The pieces are influenced by 'Roses du Soir' by Pierre Louys:
Roses du Soir (Evening Roses)
As soon as night rises in the sky, the world belongs to us, and to the gods.
We go from field to spring, from dark wood to forest glade, wherever our bare feet lead us.
Tiny stars shine just enough for the tiny shadows that we are. Sometimes, under the low-hanging boughs, we come across hinds asleep.
But more alluring than anything else at night-time is a spot known only to us
and which entices us into the forest: a mysterious rose bush.
For there is nothing so divine on earth as to compare with the scent of roses in the night.
How is it that when I was alone I did not feel intoxicated by it?
Poem I
Poem II
Poem III
Poem III only
Poem I
Poem II
Poem III
Poem I
Poem II
Poem III
Poem I
Poem II
Poem III
Summer Beckons
Summer Beckons captures the beauty of the leafy growth in a walled garden:
'...in Summer the walls are covered with blossoms and buds and tendrils reaching...'
The piece was written as a response to Martina Hoffman's poem 'My Love is a House'. Several composers were commissioned by Thea Zimple to create a song cycle bringing to musical life the text of Hoffman's poem (with poetry and music interwoven with narrator and music ensemble).
The introduction and middle sections evoke the shimmering of water fountains. The music expands with a vivid and joyful wonder as the vine tendrils twirl, seeking their next grip hold as they face their leaves towards the warmth of the sun: the beauty and bounty of Summer growth!
The original scoring of this work was for flute and piano, but the composer has also re-worked the music violin and piano.
'...in Summer the walls are covered with blossoms and buds and tendrils reaching...'
