COMPOSITIONS selected
Sequentiae Hildegardenses
Collaboration with Ann Allen and mediaeval ensemble Mediva
an interview with the composer - Project Odradek
"It’s Hugh Collins Rice who really underlines his predecessor’s uncompromising reach by bravely and successfully picking up on her aesthetic at full-throttle. His vocal music is deeply expressive, while his idea of pre-counterpoint counterpoint taps something deeply, naturally human. [The] possibilities of medieval instruments seem to propel him to something evocative but trendless. [You] don’t always know whether its Collins Rice you’re listening to or Hildegard; each sounds as contemporary as the other."
Andrew Mellor | GRAMOPHONE MAGAZINE
"...startling with refreshingly tart, spiny, intense, colourful, challenging, demanding, busy yet transparent textures ... played and sung with much beauty and impressive commitment in a voyage of discovery for composer, performers and listeners alike.”
Rebecca Tavener | CHOIR & ORGAN
"Hildegard’s songs were originally performed for the love of prayer, and Collins Rice’s contemporary music reflects these strands in her writings. The resulting music is like a mystery, searching for the heart of a saint in the 12th century. This music would be either the answer or the question from musicians of the 21st century in search of insight into the mysterious experience of the saints in the Medieval period."
Osamu Horiuchi | RECORD GEIJUTSU
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ORCHESTRAL
Via (1997)
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Small orchestra [2.2.2.2. - 2.2.0.0. – timps – str] | 5 mins.
Performed by the Nottingham Philharmonic Orchestra and the Hertfordshire Chamber Orchestra (cond. J Cohen)
Robin's Lament (1994)
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Chamber orchestra [0.1.1.1 - 1.0.0.0 - str] | 12 mins.
Winner, Composers’ Guild of Great Britain/MCPS Composition Prize (1995)
Performed by Britten Sinfonia (cond. Sir Peter Maxwell Davies), St John’s, Smith Square, London (1995), and broadcast on BBC Radio 3
Before the End (1989)
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[0.2.ca.2 (1st+Eb).bcl.2 (2nd+cbn) - 4.0.0.0 – str] | 16 mins.
Winner PA Composition Award (1989) performed by YMSO (cond. J Blair) Royal Festival Hall, London
INSTRUMENTAL
Viola Sonata (2023)
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Viola & piano | 16 mins.
Four Abstracts for Clavichord (2021)
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Clavichord | 14 mins.
Written for and performed by Terence Charlston.
The title of this work invokes the relationship between abstract visual art and music, and the practice of giving pictorial titles to (abstract) musical compositions. The four movements are named after abstract works - or rather series of works - by British artist Wilhelmina Barns-Graham (1912-2004).
Abstract 1: Glacier (Prelude)
Abstract 2: Six Lines (Fuga)
Abstract 3: Connected Forms (Siciliano)
Abstract 4: Scorpio (Fantasia) – YouTube (performed by Terence Charlston)
Coeli, instrumental motet (2019)
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Sextet, (fl. bcl. Marimba, pno. vln. vc.) | 9 mins.
Earth and Moon, a sacred geometry for tubas (1999)
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Tuba quartet (2euph. 2tba.) | 6 mins.
Performed by Tubalaté and as the title track of their fourth cd Earth and Moon (Horizon TCD 4)
I Fiori (1996)
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String quartet | 16 mins.
Performed by Coull String Quartet, London and Warwick
Published by Alfred Lengnick
St Godric’s Dance (1993-4)
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Tenor sax, piano | 8 mins.
Performed by Peter Nichols & Margaret Ozanne, London, Oxford, Ashtead, Cambridge and Wakefield.
Published by Alfred Lengnick
VOCAL
a further sea ... (2022)
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Soprano & piano | 13 mins.
four Emily Dickinson songs
The Pentecost Castle (1997)
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Tenor, piano | 16 mins.
Text: Geoffrey Hill
Performed by Neil Mackenzie, Andrew Leach, Oxford
In the Grave, Whither thou Goest (1995)
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Soprano & ensemble [cl. vib. vln. vla. vc.] | 6 mins.
Text: Christina Rossetti
Performed by Jane Manning and Jane’s Minstrels (cond. R Montgomery), Reading and broadcast on BBC Radio 3
Published by Alfred Lengnick
