Here Everything Shines
flute and guitar
Instrumentation flute, guitar
First Performance 19 July 2015, Bath Guitar Festival; Flauguissimo Duo: Yu-Wei Hu (flute) and Johan Löfving (guitar)
Commissioned by Tom Kerstens for IGF (International Guitar Foundation) for use as the 2015 set piece of the Young Artist Platform (YAP)
Charlotte has a worldwide, exclusive publishing agreement with Birdsong
score available here
24.7.15 International Guitar Summit Young Artist Platform, Kings Place, London; Flauguissimo Duo: Yu-Wei Hu flute, Johan Löfving guitar
13.8.15 IGF Residential Summer School and Festival, Shrewsbury; Flauguissimo Duo: Yu-Wei Hu flute, Johan Löfving guitar
17.10.15 North East Guitar Festival, Flauguissimo Duo: Yu-Wei Hu flute, Johan Löfving guitar
27.02.17 Contemporary Music Venture, Bristol; Flauguissimo Duo: Yu-Wei Hu flute, Johan Löfving guitar
31.07.19 St Leonard’s Church, Hythe, UK; Fidelio Trio: Darragh Morgan violin Mary Dullea piano
5.08.19 St James’s Church, Piccadilly, London; Lana Kuscer flute, Dongni Xie piano
08.08.19 St Lawrence Jewry, Summer Music Festival 2019 (“Creative Cross-Currents: Britain and Europe Entwined”); The Guild Church of St Lawrence Jewry, Guildhall Yard, London; Lana Kuscer flute, Dongni Xie piano
11.08.19 Festival ARTIS; Orthodox Synagogue, Presov, Slovakia; Lana Kuscer flute, Dongni Xie piano
27.10.19 Venus Unwrapped: Hall Two, Kings Place, London; Flauguissimo Duo
25.11.19 Hall Two, Kings Place, London; Fidelio Trio: Darragh Morgan violin Mary Dullea piano
Originally for flute and guitar but also arranged for violin and piano, Here Everything Shines was commissioned by Tom Kerstens for the International Guitar Foundation for use as the 2015 set piece of the Young Artist Platform.
The piece is largely inspired by Cesaria Evora’s ‘Petit Pays’, sung in Cape Verdean Portuguese. The title comes from the translation of the line ‘ki ca ta brilha’, an idea which resonates throughout.
A gritty and impassioned fast section opens the piece, the non-stop flute/violin line dashing around being punctuated by stabbing chords on the guitar/piano. The intensity grows until a lush slow section takes over, the melody singing vibrantly over an arpeggiated figure. Similar material to the opening then returns in an extended version, with the piano taking on the fast energetic figure and violin interrupting. Expressive and very free, a quiet section follows. The pace slows and lines glimmer as if caught by rays of sun bouncing off the ocean. Abruptly, the opening material intervenes one final time, with the lively melodic line heard once again in the flute/violin part, the guitar/piano seemingly edging it on.