cello and piano

Duration 8’
Instrumentation cello, piano
Commissioned by Tony and Caroline Marriott for the 300th anniversary of Guy Johnston’s Tecchler cello
First Performance 25 September 2015, Hatfield House Chamber Music Festival, Hertfordshire; Guy Johnston cello, Tom Poster piano
Recording Tecchler’s Cello: From Cambridge to Rome (2017) Guy Johnston cello, Tom Poster piano
Charlotte has a worldwide, exclusive publishing agreement with Birdsong
Purchase Materials
Further Performances
20.05.16  Adrian Boult Hall, Birmingham, UK; BCMG, Ulrich Heinen cello, Malcolm Wilson piano
26.10.17 Resonanzraum St. Pauli, Hamburg, Germany; Boulanger Trio
29.10.17 Radialsystem V, Berlin, Germany; Boulanger Trio
21.07.23 Kuhmo Chamber Music Festival, Kuhmo Church, Kuhmo, Finnland; Artturi Aalto cello, Anna Laakso piano
2.12.23 Herrfurthstraße 6A, 12049 Berlin, Germany; Lysistrata Chamber Collective
Lillia Keyes (cello), Lucia Brighenti (piano)

Dedicated to Guy Johnston and Tom Poster

Guy Johnston commissioned this piece to commemorate the 300th anniversary of his cello, with the idea that the piece would reflect in some way the history of the instrument. The composer took the cello makers name, David Tecchler, and translated this letters into a musical language to form the backbone of the work harmonically. The harmonic structure of the first main section (after the introduction), for example, follows the letters of his name : D-A-v-i-D t-E-C-C-H(B)-l-E-r, (ignoring the small letters which don’t literally translate into notes).

The work also takes inspiration from the phenomenon known as a ‘Super Massive Black Hole’. Captivating images have recently revealed that the Black Hole in the centre of the ‘Perseus’ galaxy, a constellation in the Northern hemisphere, dominates everything around it by propelling an extraordinary amount of radiation and energy out into the surrounding gas. The strange paradox is that an explosive feeding Black Hole is the brightest source of life in the galaxy, greedy and luminous. Bray is fascinated and motivated creatively by this unseen and unknowable force. Exploring various imaginary states, this abstract source found its way into the piece.

The introduction contains three contrasting short musical kernels, each of which are explored and expanded upon in the main body of the piece. The cello line is underpinned by a low piano drone, and (in the second and third phrases), a high accented chord. This flows into a delicate section, sparsely written, as if the notes are distant stars in the galaxy far away. Growing out of this, the composer describes the section following as ‘White Heat, luminous’. An intense rhythmic and repetitive bass line thunders away, punctuated by high stabbing clusters. The sustained glowing cello line leads to fast outbursts. A high cello melody sings throughout the third section, the lyrical centre of the piece. It feels intense and gritty above the powerful chordal piano accompaniment. The forth and final section is deeply calm, a slow reflective end to the piece.