Large ensemble

Works listed in reverse chronological order (most recent first) in each category

Seven instruments

Organum and Allelulia (2015)

for Tenor Recorder, Bass Viol, Harpsichord and String Quartet

Duration: c. 8 minutes

Full score here

First performed by the Stanesby Players at St Michael’s Church, London SW1W on 6 June 2015

06.06.15LONDONSt Michael’s Church, SW1WStanesby Players

Eight instruments

quasi una fantasia (2006)

.

b cl, pno, vib, 2 vln, vla, vcl, db

Duration: 4 minutes

Full score here

First performed at The Gate, Cardiff 24 February 2006 with James Mainwaring (soprano saxophone), Massimo di Trolio (bass clarinet), David Geoghegan (trumpet), Gwyn Daniels (trombone), Semra Kurutaç (piano), Matthew West (percussion), Jonathan Helm (percussion), Jonathan Burnett (violin), Katy Rowe (violin), Rebekah Brown (viola), Sharon McKinley (cello), Georgina Poad (double bass)

24.02.06CARDIFFThe GateSound Affairs
25.02.06ABERYSTWYTHArts CentreSound Affairs
26.02.06HOLYHEADUcheldre CentreSound Affairs
27.09.07TENBYFestivalSound Affairs
29.09.07MOLDClwyd Theatr CymruSound Affairs
30.09.07CARDIFFChapter Arts CentreSound Affairs
02.10.07LONDONSouthbank Centre, Purcell RoomSound Affairs
10.10.07BRADFORD ON AVONWiltshire Music CentreSound Affairs
11.10.07ALSAGERArts CentreSound Affairs
14.10.07SWANSEATaliesin Arts CentreSound Affairs
20.10.07LLANTWIT MAJORSt Donats Arts CentreSound Affairs
23.10.07LAMPETERUniversitySound Affairs

Mbira Music (1987)    

tpt, tbn, perc, pno, 2 vln, vla, vcl

Duration: 20 minutes

Commissioned by Chapter, Cardiff with funds provided by the Welsh Arts Council

A ‘moto perpetuo’ for strings, wind, and percussion, based on the melodic characteristics of the Zimbabwean mbira – a small keyboard instrument played with the thumbs. The opening section is derived from the different tunings obtained from the right and left hand of the mbira; whilst the rhythms are based on African cowbell patterns.

First performed by the New Arts Consort at Theatr Hafren, Newtown on 5 November 1987
with Christopher Jones (trumpet), Ian Torr (trombone), James Clapperton (piano), Phil Girling (percussion), Alison Balfour-Jones (violin), Derek Jones (violin), John Rayson (viola), Kate Morgan (cello)

05.11.87NEWTOWNTheatr HafrenNew Arts Consort
07.11.87CARDIFFChapter TheatreNew Arts Consort
11.11.87BRISTOLArnolfiniNew Arts Consort
07.11.88CARDIFFFour Bars InnNew Arts Consort
16.01.89CARDIFFWelsh College of Music & DramaNew Arts Consort
20.01.89ALSAGERCrewe & AlsagerCollegeNew Arts Consort
04.03.89CARDIFFSt David’s HallNew Arts Consort
20.08.89BRECONJazz FestivalNew Arts Consort
26.02.91CARDIFFUniversity Concert HallNew Arts Consort
02.03.91BRADFORD UniversityNew Arts Consort
17.04.91 RISCACollegeNew Arts Consort
31.05.97CARDIFFThe Point, Cardiff BayCB + Band
02.06.97LONDONRFH Purcell RoomCB + Band
19.06.97MANCHESTERRoyal Northern College of MusicCB + Band

Press
“The 20-minute Mbira Music…was a rich succession of tender and fiery mood, loaded with utterances of musicianship that were at times sublime in their invention and delivery. One of the several things I found especially delightful in it was the amplified counterpoint of pizzicatio violins and viola, done in the spirit of the African keyboard instrument the mbira.”
John Greally, Western Mail, 27 February 1991


Twelve instruments or more

Beethoven Unfinished (2007)

s sax, b cl, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

Duration: 6 minutes

Full score here

This work was composed for the 12-piece Band and is based on a few passages from Beethoven’s Fidelio Overture.

First performed at Tenby Arts Festival on 27 September 2007
with Joel Garthwaite (soprano saxophone), Graham Jones (bass clarinet), Tom Shevlin (trumpet), William Hall (trombone), Semra Kurutaç (piano), Jez Wiles (percussion), Dave Danford (percussion), Rhys Watkins (violin), Katy Rowe (violin), Rebekah Brown (viola), Sharon McKinley (cello), Ashley John Long (double bass)

27.09.07TENBYFestivalSound Affairs
29.09.07MOLDClwyd Theatr CymruSound Affairs
30.09.07CARDIFFChapter Arts CentreSound Affairs
02.10.07LONDONSouthbank Centre, Purcell RoomSound Affairs
10.10.07BRADFORD ON AVONWiltshire Music CentreSound Affairs
11.10.07ALSAGERArts CentreSound Affairs
14.10.07SWANSEATaliesin Arts CentreSound Affairs
20.10.07LLANTWIT MAJORSt Donats Arts CentreSound Affairs
23.10.07LAMPETERUniversitySound Affairs

Melodram / Funeral Flowers (2005)

Melodram (1815) for Glass Harmonica (1815) – L. van Beethoven
Funeral Flowers (2005) – Charlie Barber

s sax, b cl, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

Duration: 7 minutes

Melodram was written by Beethoven in 1815 as incidental music for Friedrich Duncker’s play Leonore Prohaska.  It was composed for the Glass Harmonica, a set of tuned glass bowls which enjoyed a certain popularity at the time.  Melodram is performed on video by percussionist Alasdair Malloy alongside a new set of variations – Funeral Flowers – by Charlie Barber.

First performed at The Gate, Cardiff on 24 February 2006
with James Mainwaring (soprano saxophone), Massimo di Trolio (bass clarinet), David Geoghegan (trumpet), Gwyn Daniels (trombone), Semra Kurutaç (piano), Matthew West (percussion), Jonathan Helm (percussion), Jonathan Burnett (violin), Katy Rowe (violin), Rebekah Brown (viola), Sharon McKinley (cello), Georgina Poad (double bass)

24.02.06CARDIFFThe GateCB + Band
25.02.06ABERYSTWYTHArts CentreCB + Band
26.02.06HOLYHEADUcheldre CentreCB + Band
27.09.07TENBYFestivalCB + Band
29.09.07MOLDClwyd Theatr CymruCB + Band
30.09.07CARDIFFChapter Arts CentreCB + Band
02.10.07LONDONSouthbank Centre, Purcell RoomCB + Band
10.10.07BRADFORD ON AVONWiltshire Music CentreCB + Band
11.10.07ALSAGERArts CentreCB + Band
14.10.07SWANSEATaliesin Arts CentreCB + Band
20.10.07LLANTWIT MAJORSt Donats Arts CentreCB + Band
23.10.07LAMPETERUniversityCB + Band

Beethoven Re-mix (1999)

s sax, b cl, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

Duration: 4 minutes

Full score here

Beethoven’s Symphony No 7 provided the starting point for this work which  draws on musical themes from the first movement.

First performed by Charlie Barber + Band at the Voices of a Nation Live TV Special at Cardiff Bay on 26 May 1999
with Simon Stewart (soprano saxophone); Christian Forshaw (baritone saxophone); Alan MacDonald (trumpet), Steve Legge (trombone), David Appleton (piano), Harry Fowler (percussion); Andy Cookson (percussion), Jeff Moore (violin), Rebecca Jones (violin), Aggie Morgan (viola), Vicki Higginson (cello), Paula Gardiner (double bass)

26.05.99CARDIFFVoices of a Nation, Cardiff BayCB + Band
29.07.99HAVERFORDWESTFishguard Music FestivalCB + Band
14.08.99BRECONJazz FestivalCB + Band
18.09.99 LONDONSouthbank Centre, Purcell RoomCB + Band
01.10.99CARDIFFChapter TheatreCB + Band
24.02.06CARDIFFThe GateSound Affairs
25.02.06ABERYSTWYTHArts CentreSound Affairs
26.02.06HOLYHEADUcheldre CentreSound Affairs
27.09.07TENBYFestivalSound Affairs
29.09.07MOLDClwyd Theatr CymruSound Affairs
30.09.07CARDIFFChapter Arts CentreSound Affairs
02.10.07LONDONSouthbank Centre, Purcell RoomSound Affairs
10.10.07BRADFORD ON AVONWiltshire Music CentreSound Affairs
11.10.07ALSAGERArts CentreSound Affairs
14.10.07SWANSEATaliesin Arts CentreSound Affairs
20.10.07LLANTWIT MAJORSt Donats Arts CentreSound Affairs
23.10.07LAMPETERUniversitySound Affairs

Fire and Hammer (1999)

for slendro gamelan

Duration: 7 minutes

First performed by the St David’s Hall Gamelan Group at St David’s Hall, Cardiff on 19 July 1999

19.07.99CARDIFFSt David’s HallSDH Gamelan

Version for 12 musicians:

2 cl, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

First performed by Charlie Barber + Band at the Bute Theatre, Welsh College of Music & Drama on 19 November 1999
with Simon Stewart (clarinet), Katie Samways (clarinet), Tom Watson (trumpet), Steven Legge (trombone), David Appleton (piano), Harry Fowler (percussion), Colin McCann (percussion), Jonathan Burnett (violin), Liz Norton (violin), Morgan Goff (viola), Sharon McKinley (cello), Paula Gardiner (double bass)

19.11.99CARDIFFBute Theatre, WCMDCB + Band
23.11.99ABERYSTWYTHArts CentreCB + Band
07.07.00BURY ST EDMUNDSBlackthorpe BarnCB + Band

Incandanza (1999)

s sax, t sax, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

First performed by Charlie Barber + Band at Chapter Theatre, Cardiff on 13 March 1999
with Simon Stewart (soprano Saxophone), Paul Stevens (tenor saxophone), Alan MacDonald (trumpet, Steven Legge (trombone), David Appleton (piano), Harry Fowler (percussion), Matt Whittington (percussion), Jeff Moore (violin), Tim Davies (violin), John Rayson (viola), Sharon McKinley (cello), Paula Gardiner (double bass)

13.03.99CARDIFFChapter TheatreCB + Band
25.03.99LONDONRFH Purcell RoomCB + Band
26.03.99NARBERTHQueen’s HallCB + Band
27.03.99SWANSEATaliesin Arts CentreCB + Band
18.09.99LONDONRFH Purcell RoomCB + Band
01.10.99CARDIFFChapter TheatreCB + Band
19.11.99CARDIFFWelsh College of Music & DramaCB + Band
23.11.99ABERYSTWYTHArts CentreCB + Band
07.07.00BURY ST EDMONDSBlackthorpe BarnCB + Band

Eaux d’artifice (1998)

s sax, b sax, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

Duration: 13 minutes

A reworking of the Autumn and Winter sections from Vivaldi’s The Four Seasons inspired by American film-maker Kenneth Anger’s 1953 avant-garde short Eaux d’artifice

First performed by Charlie Barber + Band at the Palace Theatre Newark upon Trent on 10 October 1998
with Simon Stewart (soprano saxophone), Christian Forshaw (baritone saxophone), Alan MacDonald (trumpet), Steven Legge (trombone), David Appleton (piano), Tim Wright (percussion), Harry Fowler (percussion), Jeff Moore (violin), Tim Davies (violin), John Rayson (viola), Sharon McKinley (cello), Paula Gardiner (double bass)

10.10.98NEWARKPalace TheatreCB + Band
15.10.98BUILTH WELLSWyeside Arts CentreCB + Band
22.10.98SWANSEATaliesin Arts CentreCB + Band
25.10.98BANGORTheatr GwyneddCB + Band
30.10.98LEICESTERPhoenix ArtsCB + Band
06.11.98BATHUniversityCB + Band
07.11.98CARDIFFSherman TheatreCB + Band

Organum (1998)

s sax, b cl, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

Duration: 10 minutes

First performance by Charlie Barber + Band at Llandaff Cathedral, Cardiff on 26 September 1998

26.09.98CARDIFF Llandaff CathedralCB + Band
30.09.98LONDONSt Giles Church, CripplegateCB + Band
22.10.99HAVERFORDWESTSt Martin’s ChurchCB + Band
23.10.99WREXHAMThe StiwtCB + Band
24.10.99YORKLate Music Festival, De Gray RoomsCB + Band

Veni Sancte Spiritus (1998) after John Dunstable

s sax, b cl, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

Duration: 6 minutes

First performed by Charlie Barber + Band at St Woolos Cathedral, Newport on 22 July 1998

22.07.98NEWPORTSt Woolos CathedralCB + Band
23.07.98BRECONCathedralCB + Band
26.09.98CARDIFFLlandaff CathedralCB + Band
30.09.98 LONDONSt Giles Church, CripplegateCB + Band
03.10.98BRNOExposition of New Music, Czech RepublicCB + Band

Shut Up and Dance (1997)

s sax, b cl, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

Duration: 10 minutes

The musical language of Shut Up And Dance is heavily influenced by non-European ideas as well as ‘popular’ dance music. Deliberately, there is no attempt at combining the various strands: African and Brazilian rhythms glide past Indonesian gamelan with the whole supported by African drumming.In one continuous movement, the work remains in the same tempo throughout and consists of alternating verses and refrains. The refrains are scored for full orchestra exploring an endless sequence of chords which strive upwards underpinned by a full array of tom-toms in the percussion section.The title comes from the name of a New York nightclub and was composed in the summer of 1994.

First performed by Charlie Barber + Band at Djamogly Recital Hall, Nottingham University on 7 March 1997
with Simon Stewart (soprano saxophone), Christian Forshaw (bass clarinet), Alan MacDonald (trumpet), John Randall (trombone), David Appleton (piano), Simon Limbrick (percussion), Graham Bradley (percussion), Jeff Moore (violin), Tim Davies (violin), Rachel Stott (viola), Sharon McKinley (cello), Paula Gardiner (double bass)

07.03.97NOTTINGHAMDjanogly Recital HallCB + Band
08.03.97CARDIFFChapter TheatreCB + Band
14.03.97LONDONRFH, Purcell RoomCB + Band
29.07.99HAVERFORDWESTFishguard FestivalCB + Band
14.08.99BRECONJazz FestivalCB + Band
18.09.99LONDONRFH. Purcell RoomCB + Band
01.10.99CARDIFFChapter TheatreCB + Band

Press
“A mélange of ethnic styles, mixing African and South American rhythms with Balinese gamelan and neo-classical orchestral textures, it aptly summarised the virtues of the composer’s endearingly eclectic approach.”
Phil Johnson, The Independent 13 March 1997

“Charlie Barber’s own work Shut Up and Dance exhibited the myriad of different influences and styles that have an effect on his composition: Contemporary, Jazz and World music gelled together forming a dazzling array of sound and colour.”
Angela Jennings, Nottingham City Lights, April 1997


Deus ex machina (1996)

s sax, b cl, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

Duration: 12 minutes

Full score here

Deus ex machina, ‘the god from the machine’, was a device often used by Euripides and other Greek dramatists to resolve plot complications which otherwise might have remained insoluble. The ‘machine’  was a sort of crane which could convey an actor through the air to give the impression of flying. The device has continued to be used from Renaissance drama to Elizabethan masques and from 17th century opera to the present day, when supernatural forces intervene in disputes, or between warring factions, to restore harmony. The basic material for this work has been drawn from two different accounts of the phenomenon of thunder: an extract from music depicting a thunderstorm in Gluck’s opera Iphigénie en Tauride (first performed in Paris in 1779) and based on the play by Euripides; and a ritual dance performed be the Ewe people of Ghana in West Africa for the Cult of the God of Thunder.

First performance by Charlie Barber + Band at the Torch Theatre, Milford Haven on 2 October 1996
with Simon Stewart (soprano saxophone), James Scannell (bass clarinet), Alan MacDonald (trumpet), John Randall (trombone), David Appleton (piano), Tim Wright (percussion), Graham Bradley (percussion), Jeff Moore (violin), Tim Davies (violin), Rachel Stott (viola), Sharon McKinley (cello), Paula Gardiner (double bass)

02.10.96MILFORD HAVENGo West Festival, Torch TheatreCB + Band
15.10.96CARDIFFUniversity Concert HallCB + Band
17.10.96MANCHESTERRoyal Northern College of MusicCB + Band
19.10.96FROMEMerlin TheatreCB + Band
23.10.96LONDONSouthbank Centre, Purcell RoomCB + Band
22.07.98NEWPORTSt Woolos CathedralCB + Band
23.07.98BRECONCathedralCB + Band
30.09.98LONDONSt Giles Church, CripplegateCB + Band
02.10.98PRAGUEDivadlo Archa / Theatre ArchaCB + Band
03.10.98BRNOExposition of New MusicCB + Band
22.10.99HAVERFORDWESTSt Martin’s ChurchCB + Band
23.10.99WREXHAMThe StiwtCB + Band
24.10.99YORKLate Music Festival, De Gray RoomsCB + Band

Ekstasis (1996)

Revised version of Kantos Türkiye

a sax, b cl, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

Duration: 10 minutes

Full score here

The word ekstasis is of Greek origin meaning “a being put out of its place” and also describes a trance-like state of the mind. The first version of this present work was written in March 1996 and was revised two years later. The work, based on a call to prayer, is in the form of a canon in three parts or voices: a solo alto saxophone and two instrumental groups performing the same material in augmentation.

First performance of Kantos Türkiye by Charlie Barber + Band at St Giles Church, London on 18 June 1996
with Simon Stewart (alto sax), James Scannell (bass clarinet), Alan MacDonald (trumpet), John Randall (trombone), Ruth Wall (piano), Simon Limbrick (percussion), Tim Wright (percussion), Chris Koh (violin), Tim Davies (violin), Madeleine Zagni (viola), Sharon McKinley (cello), Tony Abell (double bass)

First performance of revised version Ekstasis by Charlie Barber + Band at St Woolos Cathedral, Newport on 22 July 1998
with Simon Stewart (alto sax), Christian Forshaw (bass clarinet), Alan MacDonald (trumpet), Gwyn Daniels (trombone), David Appleton (piano), Tim Wright (percussion), Harry Fowler (percussion), Jeff Moore (violin), Tim Davies (violin), Rachel Stott (viola), Vicki Higginson (cello), Paula Gardiner (double bass)

18.06.96LONDONSt Giles Church, CripplegateCB + Band
22.06.96CARDIFFLlandaff CathedralCB + Band
22.07.98NEWPORTSt Woolos CathedralCB + Band
23.07.98BRECONCathedralCB + Band
26.09.98CARDIFFLlandaff CathedralCB + Band
30.09.98LONDON St Giles Church, CripplegateCB + Band
03.10.98BRNOExposition of New MusicCB + Band
26.02.99BRIGHTONSt Nicholas ChurchDynamix
02.03.99MANCHESTERSt Annes ChurchDynamix
05.03.99OXFORDHolywell Music RoomDynamix

Hoquetus David (1996) after Machaut

s sax, b cl, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

Duration: 8 minutes

An orchestration of Hoquetus David composed by Guillaume de Machaut (c. 1300 – April 1377). The Hoquetus is unique in Machaut’s output. A textless piece, it is laid out in three parts, with eight identical rhythmic repetitions overlapping with three statements of the melody.

First performance by Charlie Barber + Band at St Giles Church, London on 18 June 1996
with Simon Stewart (soprano saxophone), James Scannell (bass clarinet), Alan MacDonald (trumpet), John Randall (trombone), Ruth Wall (piano), Simon Limbrick (percussion), Tim Wright (percussion), Chris Koh (violin), Tim Davies (violin), Madeleine Zagni (viola), Sharon MacKinley (cello), Tony Abell (double bass)

18.06.96 LONDONSt Giles Church, CripplegateCB + Band
22.06.96  CARDIFFLlandaff CathedralCB + Band
22.07.98NEWPORTSt Woolos CathedralCB + Band
23.07.98BRECONCathedralCB + Band
26.09.98CARDIFFLlandaff CathedralCB + Band
30.09.98LONDONSt Giles Church, CripplegateCB + Band
03.10.98BRNOExposition of New MusicCB + Band
22.10.99HAVERFORDWESTSt Martin’s ChurchCB + Band
23.10.99WREXHAMThe StiwtCB + Band
24.10.99YORKLate Music Festival, De Gray RoomsCB + Band

Re: Formation of Chaos (1995)       

s sax, b cl, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

Duration : 7 minutes

Re: Formation of Chaos is based on melodic and harmonic material derived from a musical fragment from Representation of Chaos, the instrumental introduction to Haydn’s oratorio The Creation (1798).

First performance by Charlie Barber + Band for Cardiff Festival of Music at the Bute Theatre, Welsh College of Music & Drama, Cardiff on 4 October 1995
with Jeffery Wilson (soprano saxophone), James Scannell (bass clarinet), Alan MacDonald (trumpet), John Randall (trombone), Ruth Wall (piano), Jonathan Helm (percussion), Tim Wright (percussion), Claire Nelson (violin), Michael Rafferty (violin), Madeleine Zagni (viola), Sharon McKinley (cello)

04.10.95CARDIFFBute Theatre, WCMDCB + Band
10.10.95MANCHESTERRoyal Northern College of MusicCB + Band
20.10.95BATHUniversityCB + Band
18.06.96LONDONSt Giles Church, CripplegateCB + Band
22.06.96CARDIFFLlandaff CathedralCB + Band
02.10.96MILFORD HAVENTorch TheatreCB + Band
15.10.96CARDIFFUniversity Concert HallCB + Band
17.10.96 MANCHESTERRoyal Northern College of MusicCB + Band
19.10.96FROMEMerlin TheatreCB + Band
23.10.96LONDONRFH, Purcell RoomCB + Band

Press
“Barber’s own premiere-piece, Re: Formation of Chaos, derived from a fragment of the instrumental introduction to Haydn’s The Creation, was a Steve Reichian slow burn of metronomic percussion and eerie, sliding strings that suggested a clockwork toy winding down to entropy.”
Phil Johnson, The Independent 25 October 1995


Kantilan Karangan (1994)

s sax, t sax, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

Duration: 4 minutes

The title is taken from two Balinese words: ‘kantilan‘ refers to the intricate patterns or ‘flower passages’ in Balinese gamelan, whilst ‘karangan‘ describes a piece of work which is assembled or constructed. The technique of interlocking parts is an important feature of Balinese music, for there are two ‘voices’ that run in counterpoint – two different rhythms, positive and negative, that fit together to form an unbroken swift arabesque. The work was composed in April 1993 for Piano Circus.

First performed by Charlie Barber + Band at Chapter Theatre, Cardiff on 29 April 1994
with Mark Morren (soprano saxophone), Paul Hornsby (tenor saxophone), Simon Reeves (trumpet), Gwyn Daniels (trombone), David Appleton (piano), Andy Cookson (percussion), Jonathan Helm (percussion), Alison Francis (violin), Tim Davies (violin), Michael Rafferty (viola), Sharon McKinley (cello), Paula Gardiner (double bass)

29.04.94CARDIFF Chapter TheatreCB + Band
05.10.94CARDIFFWelsh College of Music & DramaCB + Band
12.10.94  LONDONRFH Purcell RoomCB + Band
16.02.96 CARDIFFThe Point, Cardiff BayCB + Band
18.02.96BRACKNELLWilde Theatre, South Hill ParkCB + Band
23.02.96MANCHESTERRoyal Northern College of MusicCB + Band

Samba Round (1994)

s sax, a sax, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

Duration: 5 minutes

First performed by Charlie Barber + Band at the Bute Theatre, Welsh College of Music & Drama on 15 February 1994
with Mark Morren (soprano saxophone), Paul Hornsby (tenor saxophone), Gethin Liddington (trumpet), Gwyn Daniels (trombone), David Appleton (piano), Andy Cookson (percussion), Jonathan Helm (percussion), Alison Francis (violin), Tim Davies (violin), Michael Rafferty (viola), Sharon McKinley (cello), Paula Gardiner (double bass)

15.02.94CARDIFFBute Theatre, WCMDCB + Band
29.04.94CARDIFFChapter TheatreCB + Band
05.10.94CARDIFFWelsh College of Music & DramaCB + Band
12.10.94LONDON        RFH, Purcell RoomCB + Band
17.05.95NOTTINGHAMDjanogly Recital HallCB + Band
18.05.95LONDONConway HallCB + Band
19.05.95CARDIFFThe Point, Cardiff BayCB + Band
13.03.99CARDIFFChapter TheatreCB + Band

Re: Evolution [Notes From Darwin] (1993)

a sax, t sax, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, e bass gtr

Duration: 6 minutes

First performed by Charlie Barber + Band at Brecon Jazz Festival on 14 August 1993
with Jeffery Wilson (alto saxophone), Paul Hornsby (tenor saxophone), Gethin Liddington (trumpet), Gwyn Daniels (trombone), David Appleton (piano), Jonathan Helm (percussion), Andy Cookson (percussion), Alison Francis (violin), Tim Davies (violin), Michael Rafferty (viola), Sharon McKinley (cello), Robin Hames (bass guitar)

14.08.93 BRECONJazz FestivalCB + Band
08.10.93CARDIFFMusic Festival, WCMDCB + Band
05.10.94CARDIFFWelsh College of Music & DramaCB + Band
12.10.94LONDONRFH, Purcell RoomCB + Band
11.10.95LONDON Red RoseCB + Band
11.12.95BRISTOLClifton CollegeCB + Band

Intonazioni e Canzone (1992)

s sax, t sax, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

duration: 12 minutes

Duration: 12 minutes

In 1990 two sections from the solo trombone work composed in 1986 were developed for Moving Being’s production of The Duchess of Malfi by John Webster. As the original performances of The Duchess of Malfi had taken place in 1613-14, shortly after Gabrieli’s death, it seemed appropriate to refer to the Venetian composer’s music.  This version of Intonazioni e Canzone is a new orchestration of music from that production.
1. Intonazioni/Lighting The Time To Come
2. Canzon a tre
3. Diamonds Cut Diamonds

First performed by Charlie Barber + Band at City United Reformed Church, Cardiff on 29 May 1993
with James Mainwaring (soprano saxophone), Mike Starr (baritone saxophone), Simon Reeves (trumpet), Gwyn Daniels (trombone), Jonathan Helm (percussion), Andy Cookson (percussion), David Appleton (piano), Alison Francis (violin), Tim Davies (violin), Richard Mainwaring (viola), Sharon McKinley (cello), Robin Hames (double bass)

29.05.93CARDIFFCity United Reformed ChurchCB + Band
17.05.95NOTTINGHAMDjanogly Recital HallCB + Band
18.05.95LONDONConway HallCB + Band
19.05.95CARDIFFThe Point, Cardiff BayCB + Band

Khyal (1991)

s sax, b sax, tpt, tbn, pno (+ harm), 2 perc, 2 vln, vla, vcl, db

Duration: c. 16 minutes

Commissioned by the Sherman Theatre, Cardiff

Khyal consists of a series of pieces written during April 1991. Each section is named after a rag, a Hindu word for a scale or mode, and the melodic material has been drawn from transcriptions of vocal improvisations by classical singers from the northern regions of India. Khyal, meaning ‘lyric’ as well as ‘imagination’, is a genre of Indian classical music which was cultivated in the royal courts of Hindustan. Legend, scattered commentary and speculation suggest that the genre originated with the poet and composer Amir Khusrau Dihlavi (1251 – 1326). From about the mid-eighteenth century, the art of singing khyal developed through hereditary musicians and the musical knowledge fostered within families who specialised in vocal music. In performing khyal, the singer presents a brief composition and then improvises according to certain guidelines.In the present set of pieces, the first section Malkauns is based on an improvisation by Bade Ghulam Ali Khan (1903 – 1968); Jaya Javanti is inspired by an improvisation by Faiyaz Husain Khan (1886 – 1950); and Gaud Malhar takes as its starting point a vocal improvisation by Narayan Rao Vyas (1902 – 1984).
i.          Malkauns
ii.         Jaya Javanti
iii.        Desi
iv.        Gaud Malhar

First concert performance by Charlie Barber + Band at Chapter Theatre, Cardiff on 17 September 1991
with James Mainwaring (soprano saxophone), Matthew Bailey (baritone saxophone), Jonathan Mainwaring (trumpet), Gwyn Daniels (trombone), Gareth Davies (piano), Phil Girling (percussion), Andy Cookson (percussion), Alison Francis (violin), Richard Treglown (violin), Matthew Roberts (viola), Vicki Higginson (cello), Robin Hames (double bass)

17.09.91CARDIFFChapter TheatreCB + Band
29.04.94CARDIFFChapter TheatreCB + Band
28.02.95LONDONSt Giles Church, CripplegateCB + Band
02.03.95CARDIFFCity United Reformed ChurchCB + Band
07.03.95MANCHESTERRoyal Northern College of MusicCB + Band
18.06.96LONDONSt Giles Church, CripplegateCB + Band
22.06.96 CARDIFF Llandaff CathedralCB + Band

De hoc mundo (1991)

s sax, b sax (or b cl), tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

Duration: 6 minutes

Full score here

This work began in 1989 as a solo piano composition for American choreographer Scott Clark. In 1991 the work was developed with the present instrumentation for Out Of This World, a dance and music project in collaboration with choreographer Andy Howitt. The starting point for this latter project was the meeting between Igor Stravinsky and Dylan Thomas in America in 1953 to discuss a new opera.

First performed by Charlie Barber + Band at City United Reformed Church, Cardiff on 29 May 1993
with James Mainwaring (soprano saxophone), Mike Starr (baritone saxophone), Simon Reeves (trumpet), Gwyn Daniels (trombone), Jonathan Helm (percussion), Andy Cookson (percussion), David Appleton (piano), Alison Francis (violin), Tim Davies (violin), Richard Mainwaring (viola), Sharon McKinley (cello), Robin Hames (double bass)

29.05.93CARDIFFCity United Reformed ChurchCB + Band
12.06.93LONDONSouthbank Centre, Purcell RoomCB + Band
28.02.95LONDONSt Giles Church, CripplegateCB + Band
02.03.95CARDIFFCity United Reformed ChurchCB + Band
07.03.95MANCHESTERRoyal Northern College of MusicCB + Band
04.10.95CARDIFFFestival of Music, WCMDCB + Band
10.10.95MANCHESTERRoyal Northern College of MusicCB + Band
20.10.95BATHUniversityCB + Band
24.02.06CARDIFFThe GateSound Affairs
25.02.06ABERYSTWYTHArts CentreSound Affairs
26.02.06HOLYHEADUcheldre CentreSound Affairs

Press
“The punchy and quizzical music of Charlie Barber has enlivened the scene in south Wales for some while. Listeners around the rest of Britain could hear it at full strength in Radio 3’s recent relay of his orchestral piece Shut Up and Dance, and now his own group is out on a short tour. It’s an extravagant line-up of a dozen players, with Barber directing. Brass and reeds are offset by strings, a bit like the Michael Nyman set-up but softer-edged, and versatile enough for an engaging repertoire of short pieces inflected by pop, early music, and traditional Asian modes….Barber himself made the impact he usually does with De hoc mundo, an energising compendium of punchy offbeat accents, circling harmonies, combative counterpoints and bright, sharp colours”
Robert Maycock, The Independent 4 March 1995


Thunder Cult Dances (1991)

i.          Husago
ii.         Sovu

s sax, b sax, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, e bass gtr

duration: 12 minutes

Commissioned by Cardiff Festival oif Music with funds provided by the Welsh Arts Council
First performed by Charlie Barber + Band at Chapter Theatre, Cardiff on 17 September 1991
with James Mainwaring (soprano saxophone), Matthew Bailey (baritone saxophone), Jonathan Mainwaring (trumpet), Gwyn Daniels (trombone), Gareth Davies (piano), Phil Girling (percussion), Andy Cookson (percussion), Alison Francis (violin), Richard Treglown (violin), Matthew Roberts (viola), Vicki Higginson (cello), Robin Hames (double bass)

17.09.91 CARDIFFChapter TheatreCB + Band
02.02.93 CARDIFFUniversity Concert HallCB + Band
20.02.93BANGOR University Concert HallCB + Band
15.02.94CARDIFFWelsh College of Music & DramaCB + Band
04.10.95CARDIFFFestival of Music, WCMDCB + Band
10.10.95  MANCHESTERRoyal Northern College of MusicCB + Band
20.10.95BATHUniversityCB + Band
15.03.01 SWANSEABrangwyn HallSound Affairs
16.03.01  CARDIFFGreat Hall, University SUSound Affairs
17.03.01  BRIGHTONSallis Benney TheatreSound Affairs
22.03.01 WREXHAMN.E.W.I. Students’ UnionSound Affairs
23.03.01BANGORTime/Amser, University SUSound Affairs
29.03.01MANCHESTERThe Green RoomSound Affairs
30.03.01 YORKFibbersSound Affairs
14.10.10CARMARTHENThe LyricSound Affairs
15.10.10CARDIFFUniversity Concert HallSound Affairs
16.10.10SWANSEATaliesin Arts CentreSound Affairs
20.10.10MOLDClwyd Theatr CymruSound Affairs
21.10.10PWLLHELINeuadd DwyforSound Affairs
22.10.10HOLYHEADUcheldre CentreSound Affairs
25.10.10LONDONSouthbank Centre, Purcell RoomSound Affairs
27.10.10MALVERNTheatresSound Affairs
28.10.10BROMSGROVEArtrixSound Affairs
30.10.10COLCHESTERLakeside TheatreSound Affairs

Grounds for Action (1990) 

s sax, t sax, tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

Duration: 10 minutes

Grounds For Action is a set of passacaglias, or grounds, in canon form. The original score was commissioned by Moving Being in 1988 for In Düsseldorf and Nebraska, a mixed media performance in memory of the controversial German artist Joseph Beuys. During the performance, the music accompanied the actions of three artists / technicians who intermittently manipulated the performance space to create new spatial structures. In a similar way, the ground bass line which forms the raw material for the music undergoes a number of transformations which develop in strict three-part canon.

First performed by Charlie Barber + Band at Brecon Jazz Festival on 18 August 1990
with James Mainwaring (soprano saxophone), Matthew Bailey (baritone saxophone), Gareth Davies (piano), Phil Girling (percussion), Andy Cookson (percussion), Glenda Rogers (violin), Phil Aird (violin) John Hymas (viola), Richard Stewart (cello), Davey Strachen (double bass)

18.08.90BRECONJazz FestivalCB + Band
26.02.91CARDIFFUniversity Concert HallCB + Band
12.10.91BANGORUniversity Concert Hall Icebreaker
15.11.91CARDIFFSherman TheatreCB + Band
16.11.91CARDIFFSherman TheatreCB + Band
08.10.93CARDIFF Festival of Music, WCMDCB + Band
17.05.95NOTTINGHAMDjanogly Recital HallCB + Band
18.05.95LONDONConway HallCB + Band
19.05.95CARDIFFThe Point, Cardiff BayCB + Band

Kitab al-musiqi (1989)

picc, ob, cl, bsn, 2 hn, 2 tpt, tbn, tba, pno, 2 perc, 2 vln, 2 vla, 2 vcl, db

Duration: 25 minutes

Commissioned by St David’s Hall, Cardiff with funds provided by the Welsh Arts Council

The title, meaning ‘the Book of Music’, is taken from a musical treatise written by Al-Farabi in the 10th century. Six different rhythms listed in Al-Farabi’s book form the basis for the rhythms in the work, whilst the melodic material reworks certain north-west African vocal and instrumental techniques.

First performed by the New Arts Consort at St David’s Hall, Cardiff on 4 March 1989
with Barry Kelvin-Hall (piccolo), Michelle Bosley (oboe), Julian Holmes (clarinet), Liz Nicholsonson (bassoon), Gareth Williams (horn), David Williams (horn), Gareth Rees (trumpet), Ted John (trumpet), Ian Torr (trombone), Louise Hanslow (tuba), Gareth Davies (piano), Philip Girling (percussion), Kevin Earley (percussion), Luke Roskans (violin), Mary Shannon (violin), Sian Jenkins (viola), Sharon McKinley (cello), Kate Morgan (cello), Geraint Williams (double bass)

04.03.89CARDIFFSt David’s HallNAC
17.09.91CARDIFFChapter TheatreCB + Band
31.05.97CARDIFFThe PointCB + Band
02.06.97LONDONRoyal Festival Hall, Purcell RoomCB + Band
19.06.97MANCHESTERRoyal Northern College of MusicCB + Band

Press
“Barber can write at considerable length without monotony. A new St David’s Hall commission Kitab al-Musiqi deployed a small orchestra of 20 for as many minutes in a subtle and exciting rhythmic study based on material from a treatise by the 1oth century Turkestani theorist, Al-Farabi…The music is translucent, yet intricate, and is beautifully “heard” – one can approach it as sheer sound, but stay with it as method and substance….The colours of Barber’s music stay in the ear long after the sounds have died away..”
Stephen Walsh, The Independent, 6 March 1989


Footnotes (1988)

tpt, tbn, pno, 2 perc, 2 vln, vla, vcl, db

Duration: 7 minutes

Commissioned by the Welsh Jazz Society with funds provided by the Welsh Arts Council

Footnotes is a tribute to American popular music, particularly the early dance records issued by the Tamla Motown label. It was commissioned by the Welsh Jazz Society and first performed at the Four Bars Inn, Cardiff, by the New Arts Consort as part of their tenth anniversary retrospective. The revised version for the Band was made in December 1993.

First performed by the New Arts Consort at the Four Bars Inn, Cardiff on 7 November 1988
with Ted John (trumpet), Ian Torr (trombone), Gareth Davies (piano), Phil Girling (percussion), Kevin Earley (percussion),Cathy Porter (violin), John Rayson (viola), Alexandra Robinson (cello)

Revised version first performed by Charlie Barber + Band at the Bute Theatre, Welsh College of Music & Drama on 15 February 1994
with Mark Morren (alto saxophone), Paul Hornsby (tenor saxophone), Gethin Liddington (trumpet), Gwyn Daniels (trombone), David Appleton (piano), Andy Cookson (percussion), Jonathan Helm (percussion), Alison Francis (violin), Tim Davies (violin), Michael Rafferty (viola), Sharon McKinley (cello), Paula Gardiner (double bass)

Second revised version performed by Charlie Barber + Band at The Point, Cardiff on 16 February 1996
with Mark Morren (alto saxophone), James Scannell (tenor saxophone), Alan MacDonald (trumpet), John Randall (trombone), Ruth Wall (piano), Simon Limbrick (percussion), Tim Wright (percussion), Claire Nelson (violin), Tim Davies (violin), Madeleine Zagni (viola), Sharon McKinley (cello), Paula Gardiner (double bass)

07.11.88CARDIFFFour Bars InnNAC
16.01.89CARDIFFWelsh College of Music & DramaNAC
20.01.89ALSAGERCrewe & Alsager CollegeNAC
04.03.89CARDIFFSt David’s HallNAC
20.08.89BRECONJazz FestivalNAC
15.02.94CARDIFFWelsh College of Music & DramaNAC
16.02.96CARDIFFThe Point, Cardiff BayCB + Band
18.02.96BRACKNELLWilde Theatre, South Hill ParkCB + Band
23.02.96MANCHESTERRoyal Northern College of MusicCB + Band

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