I Love You (2007) (anonymous) ed. John Richards (Sudophone/ensemble)
For any number of Sudophones. I Love You plays on the vocal quality of the Sudophone, the sound of words and their meaning, and expressing the often difficult to say phrase "I love you". Published in Nine Easy Pieces for the Sudophone.
For two Sudofuzzes and foot touch plates.
For Feedback Balls, Pulsar +, and loudspeakers and amplifier.
Feedback Balls are polystyrene balls that have microphones inserted into their centre. These balls are then placed on a loudspeaker. By creating a feedback loop, the balls begin to bounce and vibrate creating their own random rhythms and motions. The performer can influence the type of motion and resulting sound by varying the amount of feedback. The Pulsar + is a large strobe light instrument that clicks. Premiered at EMS07 (Electroacoustic Music Studies), Leicester, and performed by James Kelly.
Piece for Victorian teapots and Kreepback (see instruments).
Premiered Fylkingen, Sweden, 2007.
Piece for Sixteen Amplifiers (2004) (ensemble/pedagogical)
Large ensemble. Download score (pdf).
Being Heard (2004) (installation/outreach with Simon Atkinson)
Installation at Phoenix Arts Centre, Leicester, 1.4.04 - 5.4.04; and Sonic Circus, Sonic Arts Conference, Phoenix Arts Centre, Leicester, 12.6.04.
Indriya (2002) (installation with Simon Atkinson, Ashok Mistry, and Dipak Joshi) Rangoli artwork, projections and sound. New Walk Museum, Leicester, 22.6.02 - 25.8.02.
Suite (2002) (electroacoustics and piano)
The composition began as a series of discussions with the pianist GeNIA (Evgenia Chudinovich) at Dartington Summer School in 2001 and an agreement to write an electroacoustic piece she could perform as part of her repertoire. The piece has received numerous performances in the UK and in America.
Four Studies for Double Bass (2001) (electroacoustic/improvisation)
Double bass improvisation John Richards. Recording of third study, Bite_Down, on Bouquet of Sound, MTI.
Blok and Orgel (2001) (electroacoustic/improvisation)
Blok and Orgel is a result of an ongoing collaboration with the contra recorder player Cesar Villavicencio. The piece was originally conceived as an improvised recorder and eight-channel electroacoustic piece for a concert at the Logos Foundation, Gent, Belgium.
Preecha (2001) (electroacoustic)
The composition has evolved from ongoing work with the improvisation and live electronic collective Kreepa. Preecha was originally conceived for improvised trombone and multi-channel electroacoustics, and the title derives from the first performance of the work at the Trinity Chapel, Leicester, where trombonist, Hilary Jeffery, performed from the pulpit. Recording on MTI, Pink Dot 001.
Cruciform (2000) (electroacoustic, eight-channel)
Cruciform is based on an idea of composing using sound trajectories. The piece was written to fill the space of the church Mary de Castro, Leicester.
Song Cycle (1999) (electroacoustic/improvisation)
The inspiration for the piece came from the sounds produced by a self-made percussion mallet with a head made from a rubber ball cut in half. The penultimate section of the work is an improvisation between mallet and voice (George Adamis). The piece has also been performed under the title Song of Adam.
Harmonium (1999) (electroacoustic)
Harmonium was the result of a visit to Phil Fluke's extensive harmonium collection housed in the Victorian town hall of Saltaire, West Yorkshire.
Bon Voyage (1998) (electroacoustic)
Right and left: the extremes of the stereo image. Between these two poles a continuum of spatial possibilities exists. Bon Voyage is an exploration of sound through this continuum. Recording on nerve8: volume 1.
Mask (1997) (electroacoustic, ambisonic)
This piece has been realised in both stereo and ambisonic formats. The ambisonic premier of the piece took place at Huddersfield Contemporary Music Festival, 1997.
Spherical Construction (1997) (electroacoustic, ambisonic)
Amisonic piece based on the work of Construcstivist sculptor Alexander Rodchenko.
Dithyrambix (1997) (electroacoustics and trombone)
Written for trombonist Hilary Jeffery. This piece was performed throughout the UK and in Europe in 2004/2005 as part of a tour by Hilary Jeffery for solo trombone and electronics.
Discoverie of Witchcraft (1996) (electroacoustic)
The initial starting point for the piece came from a chapter on the art of perspective in regard to optics in Reginald Scott's Discoverie of Witchcraft (1584). The piece received a mention at Bourges 1997.
works 1; works 2