https://www.robertcolemancomposer.com/projects daily 1.0 2023-03-13 https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1534365864548-Y04XALJ9IL785VNRRBNK/_H6A5938.jpg + https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1534859774607-Q59MRE8YQ5V687K8V1IJ/_H6A5938.jpg + https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1555624539016-4SXH614WLDTZ1MRZJI1M/_H6A5938.jpg + https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1555696095998-51U23VKHR9XV7C7EZTVV/RobEndColoursmyCameraCROP.jpg + - Colours depend on the light you see by Robert Coleman performed by the SinfoNua Orchestra Live recording performed by the SinfoNua Orchestra and conducted by David Brophy at the National Concert Hall, Dublin, 3rd September 2018. Instrumentation: 2d1, 2, 2, 2+1 - 4, 3, 3, 1, 2 perc, str Type: orchestral Year: 2018 Premiere: Performed by the SinfoNua Orchestra, conducted by David Brophy at the Cork School of Music, 2nd September 2018. Duration: 12’30 Words by: Luna Fides Colours depend on the light you see was commissioned by the National Concert Hall, Dublin as part of the Jerome Hynes Young Composers' Award 2017 Colours depend on the light you see is an exploration of music as object. Various blocks of material are introduced and then revealed in another context, either layered with other material, expanded, contracted or fragmented. The result is a quasi-static atmosphere where changing perspectives and viewpoints are given of the various musical entities. The title is a phrase from Joyce's Ulysses and I chose it because of how it references the vast array of colours (essentially different perspectives) that can be produced from a single entity (light). (extract from) Spaces i once read that there are names for the spaces in between body parts, architectural structures, musical notes. names for spaces as if they are real concrete solid and not just gaps voids silences https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1567163152242-IJRUBS8LA4KF1HYX6RLD/_H6A5938.jpg + https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1573733979569-U7HOMCYVXCRWT7CN5XE4/Cross+graphic.jpg + - Cross Type: installation Year: 2019 Duration: 7’30 loop Premiere: Kirkos Attrition at Farmleigh House, Dublin, 21st September 2019 Cross is an audiovisual work taking inspiration from a leading figure of the Irish Rebellion, Thomas Ashe. In 1917 Ashe was imprisoned by British authorities for seditious speech. He was sentenced to two years hard labour, however refuted any criminal sentence and responded by going on hunger strike at Mountjoy Prison. He died five days later as a result of overly rough force feeding by the British authorities. In 1916 while imprisoned in Lewes, Brighton, for his participation in the Easter Rising, Ashe wrote the song, 'Let me carry your cross for Ireland, Lord'. Cross is my response to Ashe's song and features solely his words and melodies Cross was first exhibited at Attrition ж A Musical Tribute to a Lost Generation on 21st September 2019 at Farmleigh House. It originally was installed with each figure on a separate screen. This is an online version where the three figures are condensed onto one screen. Performer: Sam Burton Sound and video recording: Bryan Fleming https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1587585338074-6T8R3MPQ8HQUVYIRICYD/Website+background.jpg + https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1600856019603-8LP8QNEY0KS5T18AZ4L5/image-asset.jpeg + - Look at it other way round (LIVE) by Robert Coleman Instrumentation: 6 soprano voices Type: vocal Year: 2018 Premiere: Performed by Universe Birds, conducted by Georgi Sztojanov, Spring Festival, 9th April 2018, Korzo Theatre, Den Haag. Duration: 11’ 'Look at it other way round' is written for a vocal ensemble of six sopranos. Musical material was first written and then reduced and expanded to different proportions and presented like variations on a theme. The inspiration for this comes from my current research into architectural representation and how objects can be presented at various scales allowing the viewer to relate to it in an entirely different way. This idea is also reflected in the text which is taken from James Joyce's Ulysses. The words vary from coherent phrases to more chaotic fragments and the result is music which at times is intelligible, and at other times is pushed out of context and beyond normal comprehension. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1609776711939-LIEMVMQ6TGFT272F1MSR/Website+background.jpg + https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1611416103967-O9RLF4W1IP4QZ5WDHNCE/image-asset.jpeg + - How many sides do you see? by Robert Coleman "The shape of the sky cannot be explained as a physical phenomenon, but is the result of your own observation, an impression created inside your own head. The Celestial Vault is not a sculpture in the landscape, but a tool to look at light and colour” James Turrell Instrumentation: clarinet (doubling bass clarinet), double bass, accordion Type: site specific, ensemble Year: 2019 Premiere: Performed by But What About: Wilco Oomkes (Accordion), Julian Sarmiento (Double Bass), Vincent Martig (Clarinet), 4th May 2019 at James Turrell’s Celestial Vault, Kijkduin, the Netherlands Duration: 34’ How many sides do you see is a site specific work for accordion, clarinet and double bass written for performance at James Turrell's Celestial Vault, Kijkduin. The work is inspired by light, and uses the data from a daylight spectrum to create musical material. From this five movements are drawn out, representing five colours of the spectrum; Red, Orange, Yellow, Blue and Violet. There is no full score for the work. For every movement, each instrument has its own specific position around the site ranging from most distant from the centre, to gathering together at the centre. In this way the movement of the performers represent the movement of the sun across the sky. Special thanks to Stroom Den Haag and to the Creative Departments of the Koninklijk Conservatorium Den Haag for support. Recording engineer: Alla Blehman https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1645618740125-U4O4X9OUFOWA5JLZ3MZI/image-asset.jpeg + - South Dublin County Soundwalk, by Robert Coleman Type: community, electro-acoustic Year: 2021 Premiere: online for Cruinniú na nÓg, 12th June 2021 Duration: 18’ Composed by Robert Coleman with the pupils of Scoil Chrónáin and Rathfarnham Parish National School. To listen to the South Dublin County Soundwalk on bandcamp follow this link here AltEnts have staged a Children’s Music festival each June since 2007. Covid-19 restrictions mean that the 2021 festival cannot feature live workshops and performances in participating schools, 'South Dublin County Sound Walk' is a project that has been developed to allow for the festival to continue online, and to engage with its festival cohort this year. From April to June 2021, 5th and 6th class students from Scoil Chrónáin and Rathfarnham Parish National School have been working with composer Robert Coleman to make a sound art piece comprising of the sounds of their everyday lives, conversations and random sound pieces captured in their homes and on their lockdown walks with family and friends. Robert has been assisted by one of SubSounds lead mentors Elton Mullally, and by sound engineer and musician Bryan Fleming. We are so excited for you to hear the amazing work of the incredibly talented children and artists involved in this project. The finished product will be launched on our various social media platforms on the 12th of June as part of Cruinniú na nÓg 2021, the national day of free creativity for children. credits released June 12, 2021 Composed by Robert Coleman with the pupils of Scoil Chrónáin and Rathfarnham Parish National School. Piano, harmonium and electronic processing by Robert Coleman. Guitars by Bryan Fleming. Field recordings - the pupils of Scoil Chrónáin and Rathfarnham Parish National School (see track credits for participants' names). Produced by Robert Coleman, Elton Mullally and Bryan Fleming. Recorded in Cabinwood Studios by Robert Colemen and Bryan Fleming. Mixed and mastered by Bryan Fleming https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1649852737870-ASW3SFRQL2KJDFZLNZPT/image-asset.jpeg + - Wings (3 min extracts) Type: installation Year: 2021 Duration: 18’ loop with continuous live feed Premiere: Fuddlefest, 21st-22nd August 2021 In June I came to Fuddletown to do some field recording of the area. It was a beautiful sunny summer's day and the birds were singing, more or less constantly. In fact I was surprised by how often they sang. On listening back to the recordings there was hardly a moment when the birds could not be heard. I then began to focus in on another sound they made, which is perhaps less what we think of when we think of bird sounds – their wings. The recordings featured many examples of their wings beating, flapping and fluttering and I began to process these and assemble a soundscape based around them. In this way this work became a kind of comtemplation of birds and their wings and the incredible journeys which they make with them. The swallow also became a particular focus as a family had nested in the garage just beside the greenhouse where this installation takes place. All audio environmental recordings were taken at Fuddletown on June 19th which were then combined with sounds and also video of the harmonium. (found video footage of swallows also features for the visuals) https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1678708804409-59D5LWCV34MDI9EZ4HD0/image-asset.jpeg + - River Dodder Soundwalk RIVER DODDER SOUNDWALK The River Dodder Soundwalk is a site-specific soundwalk to be listened to while walking the river. It is a celebration of the River Dodder in South Dublin and all its many facets. The Soundwalk is in three separate movements, each accompanying a separate section of the walk. It features field recordings taken all along the river, as well as music and narration which guides you along the river’s path downstream. Mvt 1: Old Bawn to Balrothery Weir Mvt 2: Balrothery Weir to Bushy Park Mvt 3: Bushy Park to Orwell Park Field recordings, composition, text and narration: Robert Coleman Text editor: Tom Roseingrave Soprano voice: Molly May O’Leary Electric Guitar and Shakuhachi: Bryan Fleming. Harmonium: Robert Coleman Sound engineer: Bryan Fleming Supported by the South Dublin County Council https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1678709015683-FH7KUTVCM2LWR6GMEPRL/image-asset.jpeg + - Budding Sounds Installation and Exhibition Documentation (full version) Budding Sounds is a climate change and sound art project that composer and sound artist Robert Coleman initiated with students from Clonburris N.S. and Rathfarnham Parish N.S. Beginning in January 2022 the participating schoolchildren took part in a 12-part series of environmental education and sound art workshops co-presented by Robert and fellow members from Climate Love Ireland; Talita Marcillo, Cathelijne de Wit and Climate Love Ireland founder Laragh McCann. At the heart of the project was a tree planting initiative where the schoolchildren planted native trees in their schools and some at their homes too. Regular visits to the trees, checking in on their growth and development provided a backdrop to the workshops which included creative exercises such as composing sound collages, making sound maps, and field recordings, nature connection meditations as well as presentations on air pollution, biodiversity, sustainability, and more. This all combined into one educational art-science experience, teaching the schoolchildren more about our environment, what they can do to help, and crucially, creative ways in which to express themselves about it. The project culminated with a sound installation and exhibition at Rua Red South Dublin Art Centre on 1st/2n July 2022. This showcased creative work by the children, Robert, and Climate Love Ireland members expressing the stories and progress of their tree planting, as well as what the schoolchildren learned and their hopes for the future. 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monthly 0.5 2018-08-15 https://www.robertcolemancomposer.com/news/2018/8/15/kirkos-blackout-reviewed-by-the-irish-times monthly 0.5 2018-08-15 https://www.robertcolemancomposer.com/home daily 0.75 2024-05-15 https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1533297190958-GWHPRIJF3JJQFRTU7ZVD/_H6A5938.jpg Projects https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1533733776459-X870ATK0CF8QHU6793H2/IMG_20180514_181413864.jpg Projects - Sound Installation Den Haag Groot Hertoginnelaan Type: installation Year: 2018 Exhibition: Soundscape: Your Chair in a Public Space exhibition, 16th May 2018, Royal College of Art, Den Haag. Duration: indeterminate Den Haag (Groot Hertoginnelaan) is a sound installation designed for a space beside the Groot Hertoginnelaan tram stop. It makes use of and modifies the sound of cars (and also trams) passing, but specifically the rhythmic patterns as car tyres pass over the tram-tracks. The resultant pitch of the sound can be raised or lowered as passers-by extend or contract the 3 telescopic tubes. The sound that emerges allows for a more careful examination and listening of its qualities, as small differences between the 3 tubes become apparent and magnified. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1533740136954-OMJ1KEOZBIQRTZTVKE4N/image-asset.jpeg Projects - Nocturne for solo harp Recording of live performance by Clare McCague Instrumentation: harp Type: solo Year: 2016 Premiere: Performed by Clare McCague at ICC Solo Series, 28th February 2016, Lutheran Hall, Adelaide Road, Dublin. Duration: 7’ When writing for the harp many composers and orchestrators suggest not to over-use the glissando. In writing this piece I decided to resist this advice and make extensive use of the technique for the first theme. At the time I was staying in a small cottage by the sea and the glissando seemed a very suitable way to relate to the rolling of the waves outside. Contrasting material using different techniques were then written at a later date to complete the conversation of the piece. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1533742243838-R97008VTRZITDEVLIEC1/image-asset.jpeg Projects - À Contre-coeur Live recording of the premiere by Paul Roe Instrumentation: clarinet in A Type: solo Year: 2013 Premiere: Performed by Paul Roe, at ICC Solo Series, 17th May 2013, Kevin Barry Room, National Concert Hall, Dublin. Duration: 5’20 The title comes from the phrase qui va contre la coeur, meaning which goes against the heart. I began writing this piece with contrasting motifs in different registers of the clarinet. The low end or chalumeau register features long sustained notes which grow and fade to nothing. Just above this in the paler throat tones we hear shorter repeated notes which then develop into melodic shapes higher in the clarino register. As the music unfolds these designations soon begin to cross-over and blur resulting in a dialogue which plays on the register of the clarinet. https://static1.squarespace.com/static/5b6434c4710699360ad4b4ef/t/5b76cbfff950b762aa476b3f/1533742514385/ Projects https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1533743055317-753K1MRK5X1RDV7YCA80/image-asset.jpeg Projects - Lustrum Live recording performed by Róisín Walters Instrumentation: violin Type: solo Year: 2015 Premiere: Performed by Róisin Walters, at Kirkos Blackout, 8th/9th May 2015, Katherine Brennan Hall, RIAM. Duration: 14’ In the spirit of the Blackout series this piece has been written in the dark. The idea was forced upon me one night when there was an actual blackout at my house as I was writing. I continued by candlelight in an attempt to capture any sense of the surrounding darkness. From a technical standpoint Messiaen has influenced this piece in a number of ways. The first is the use of added values to a standard rhythm by a note, rest or dot. I have used this idea to give character and a more unique speaking quality to the solo instrument. I have also used his technique of rhythms in augmentation/diminution. Slowing down phrases that we have already heard, in an attempt to match the achingly slow passages from his Quatour pour la fin du temps. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1533744083409-EI12DAIUDJJ5GNGAX35I/image-asset.jpeg Projects - I/O No. 1 Construction Construction is the first of a 6 piece set of audio visual pieces titled I/O (Inside/Outside) Type: electro-acoustic/multimedia Year: 2015 Duration: 5’ It uses sound recordings of pneumatic drills, saws and machinery at a construction site as the starting material. These sounds are then manipulated and processed in a number of ways to produce the final music. I/O Description The ‘Inside’ (Pieces 1-3) is represented by man-made elements. I recorded various man-made objects, such as construction machinery, trains and electronic equipment and then applied various processes/alterations/effects to produce the music. The ‘Outside’ (Pieces 4-6) is represented by natural elements. I recorded various sounds found in nature such as waterfalls and breaking waves and used these as the material for creating the music. These sounds are manipulated to such an extent that the lines between what is natural and what is synthetic become blurred. Each of the pieces is accompanied by visuals recorded at the same site. Sometimes the sounds seem to fit with the scene, others times they don’t, further playing with the idea of blurred reality. These recordings were done in Dublin City. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1533748456381-F5B477E6ZUTH6VGYFBRR/image-asset.jpeg Projects - Ebb And Flow Live recording of workshop performance by David Adams, May 2012, Trinity College Chapel, Dublin. Instrumentation: organ Type: solo Year: 2012 Duration: 8’ Ebb and Flow is a monolithic work for solo organ This composition is an exploration of the sustaining power of the organ and interchanges two contrasting ideas throughout the piece. Photo by Nathy Coleman https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1533748537086-RM94ODJMH1E8MPW3GP6F/image-asset.jpeg Projects - Heartwood Live recording of the premier performed by Kirkos Ensemble. Words by Lily Akerman Instrumentation: soprano, flute, clarinet, horn, violin, viola, cello, timpani Type: ensemble, vocal Year: 2014 Premiere: Performed by Kirkos at Kirkos: K3, 6th May 2014, Sugar Club, Dublin. Conductor: Cillian O'Breacháin Soprano: Robyn Richardson Duration: 6’30 Heartwood is inspired by the myth of Apollo and Daphne. Having insulted Eros for playing with bows and arrows, a curse was brought upon Apollo. He was shot with a golden arrow to incite love for the nymph Daphne and she was shot with a leaden arrow to incite hatred for Apollo. The nymph fled from the God but he followed her continually, begging her to stay. Seeing that Apollo was bound to catch her, she called upon her father, “Help me Peneus! Open the earth to enclose me, or change my form, which has brought me into this danger!” Her skin suddenly began to thicken and turn into bark. Her hair became vines and her arms transformed into branches. Apollo embraced her as she transformed into a tree and even then, her branches shrank away from him. He vowed that he would tend the tree and granted it eternal youth and immortality, rendering the Laurel Tree ever green. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1533748640459-ML81NI3H4XAZ06KDADEX/image-asset.jpeg Projects - Still Life IV: Undercurrents Live recording at Kirkos Blackout (2012), performed by Alexander Bernstein Instrumentation: piano Type: solo Year: 2012 Premiere: Performed by Máire Carroll at Kirkos Launch Concert, 17th April 2012, St Anne’s Dawson Street, Dublin. Duration: 4’15 Click here for audio-visual version. Undercurrents is the fourth piece in my Still Life series which I have been writing for solo piano. In the way that a painter might focus in on certain objects, colours or techniques in a still life, I too have tried to limit the musical palette used here. The right hand plays a simple repetitive arpeggiac motif while the left hand moves about in constant interaction with it, creating a sense of movement, which I liken to the sounds of running water. Photo by Nathy Coleman https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1533748775796-PT10ETUIAL79Z721EVUT/image-asset.jpeg Projects - Monster Live recording of the premiere performed by the Arioso Quartet. Instrumentation: violin, violin, viola, cello Type: ensemble Year: 2014 Premiere: Performed by the Arioso Quartet, at the West Cork Chamber Music Festival, 2nd July 2015, Bantry. Duration: 8’30 Monster was a winning entry to the 2015 West Cork Chamber Music Composition Competition 2015. Monster for String Quartet I Fragmentary Moments II Monstrous Convulsive Machines III Clouds of Mist and Dust IV Eruptions Monster is my first string quartet and was written in April and May of 2014. It demonstrates my fascination in comprising a piece from numerous short and dense movements. At the time I had recently written a piece for solo bass clarinet, entitled Micro + Macro, which I think influenced my workings for Monster. It was written in two short movements where I derived all material from a single tone row. I continued this focused method of working when writing this string quartet and I decided to create a series of short movements based on simple motifs. These would act as the building blocks for the music. They are like the brick which when stacked and repeated creates the overall form. These motifs are subjected to various developments and variations throughout the course of each movement and in some cases spill over to the next, or reappear in later movements, establishing relationships between the piece as a whole. Photo by Nathy Coleman https://static1.squarespace.com/static/5b6434c4710699360ad4b4ef/t/5b76e17b0e2e72cd0cf22ebb/1533749049306/ Projects https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1533749613624-1WE4KDNNY09I45UNMEYJ/image-asset.jpeg Projects - Undercurrents Type: multimedia Year: 2013 Premiere: Performed at Screens, presented by Contemporary Music Centre and Irish Composers Colletive, 17th July 2013. Duration: 4’30 Undercurrents is an audio-visual work created by Robert Coleman For the audio in this piece I used a recording of my composition Still Life IV: Undercurrents, for solo piano which was written in 2012. The soundworld of the piece reflects a sense of moving water with visuals designed to heighten the effect. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1533991519959-6DYSERCTUAOUB3FU808S/10704350_771161936279075_2764118806962000026_o.jpg Projects - It is architecture Instrumentation: soprano, piano Type: ensemble, vocal Year: 2014 Premiere: Performed by Elizabeth Hilliard and David Bremner at ICC10, 20th November 2014, Projects Arts Centre, Dublin. Duration: 6’20 The text I have used is an extract from an article written by the architect Le Corbusier. He discusses the balance between function and art; when construction becomes architecture. For this I treated the text in two different ways: the descriptions of construction and function are treated with very direct and mechanical gestures. Then Le Corbusier describes the feelings that these constructions can create and the sense of art that we feel. For these moments I have allowed the music to break away from the constant rhythmic throb and generate new textures and melodies. The piece is then constructed from these two contrasting sections which represent the two sides to Le Corbusier’s discussion, each a vital element in the art that is architecture. Photos by Daryl Feehely https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1533993638736-WJ4QLHE0C8ICV634L6OR/10634043_752387044823231_8706912291168645215_o.png Projects - Landscape for solo horn Instrumentation: horn Type: solo Year: 2014 Premiere: Performed by Cormac Ó hAodáin, 28th October, Kevin Barry Room, National Concert Hall 2014. Duration: 5’40 Landscape for solo horn is an evocation of an expansive outdoor scene. The piece falls into four sections, each of which organically moves from one to the next, gaining in momentum. The changes in motif and character reflect the constant irregularity of a landscape and the play of light across it. The build-up of energy is released in the final section in a series of interspersed proclamatory gestures. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1534002428465-NPELOCEXJ6VAWJCVB7C2/1404965_589818351080102_793157400_o.jpg Projects https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1534165168459-O0QG6JFNZSCEPE9S9VSZ/Atoosa+3.png Projects - Sleep of Reason Film by Atoosa Pour Hosseini of the Experimental Film Society with music by Robert Coleman Instrumentation: soprano, flute, clarinet, violin, violin, viola cello, piano, electronics Type: vocal, ensemble, multimedia Year: 2017 Premiere: Performed by Kirkos at Wilderness Notes, 1st, 2nd September 2017 at Filmbase, Basement venue, Dublin. Duration: 20’ Sleep of Reason is a six movement song cycle using words from the American poet Morri Creech. Written for soprano, chamber ensemble and tape, each movement reflects a kind of dreamscape and is an exercise in restraint and focus of material. The text describes aspects of contemporary suburban life while simultaneously delving into deeper territories of the conscious mind, revealing a thoughtful and personal examination between sleep and waking, life and death. Sleep of Reason I: The Dream of Reason (sop, pno, vl, vl, vla, vlc, tape) II: Song and Complaint Part 1 (picc, cl, sop, pno, vl, vl, vla, vlc) III: Song and Complaint Part 2 (sop, vl, tape) IV: Night Blooming Cereus (sop, pno) V: Night Fire (fl, cl, sop, pno, vl, vl, vla, vlc) VI: Cold Pastoral (sop, tape) https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1534167126696-BVEUTCD48SNCWOSWJP70/Rob+at+Spectra.jpg Projects - Spectra: Space as an Organism Type: installation Year: 2017 Premiered: 27th October 2017, KABK, Den Haag. Multi-media performance installation as a result of a collaborative project at the Royal Academy of Art, the Hague with artists Þórir Freyr Höskuldsson, Muireann Nic An Bheatha, Kay Churcher & Mikki Sindhunata. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1534327315742-6IZD80WLSIGB4Q9WI18U/ACHild%27sVisionCLouds.jpg Projects - A Child's Vision Instrumentation: S.A.T.B. Type: vocal Year: 2013 Duration: 4’ Under the sweet-peas I stood And drew deep breaths, they smelt so good. Then, with strange enchanted eyes, I saw them change to butterflies. Higher than the skylark sings I saw their fluttering crimson wings Leave their garden-trellis bare And fly into the upper air. Standing in an elfin trance Through the clouds I saw them glance…. Then I stretched my hands up high And touched them in the distant sky. At once the coloured wing came back From wandering in the zodiac. Under the sweet-peas I stood And drew deep breaths. They smelt so good. Alfred Noyes (1880-1958) https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1534327705103-G6IJ5JNYXCDFUVHKRDKM/john+feeley.jpg Projects - Ballade for Guitar Instrumentation: guitar Type: solo Year: 2013 Premiere: Performed by John Feeley, 28th August 2013, National Concert Hall, Dublin. Duration: 5’ Ballade for guitar was inspired by the Ballades of Frédérick Chopin. It consists of three contrasting themes; the first of which is mainly melodic in content; the second uses strummed material; and the third is plucked. The resulting structure is a kind of sonata form where the development section is substituted by the third theme. In keeping within Chopin’s tradition of the ballade, the themes are presented in reverse order in the recapitulation section. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1534328184576-QZZGTV8CWCLW6NYM99CV/Breathe.JPG Projects - Breathe Instrumentation: clarinet, suspended cymbal Type: ensemble Year: 2011 Premiere: Performed by Léonie Bluett and Maeve O'Hara, November 2011. RIAM. Duration: 2’40 https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1534328383986-TLMSICVPQST4E0Q5BKPC/Bridges.JPG Projects - Bridges Instrumentation: violin, cello Type: ensemble Year: 2012 Premiere: Performed by Róisín Walters and Ailbhe McDonagh, February 2012, RIAM. Duration: 4’ Photo by Robert Coleman https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1534328608604-YC5GKTSURTG27HU3UW3F/Frameworks+black+and+white+edited.jpg Projects - Frameworks Instrumentation: piano, electronics Type: solo, electro-acoustic Year: 2017 Premiere: Performed by Hue Blanes, 19th February 2018, Korzo Theatre, Den Haag. Duration: 9’30 Frameworks was written in 2017 as part of a two piece piano set: Impulses and Frameworks. The title Frameworks has a two-fold meaning. Firstly the electronic part is made from recordings of various objects played on a stripped down piano frame. Secondly it is also a reference to a more rigid approach that I applied to the form of the piece. The creation of the work was kindly supported by the Arts Council of Ireland Bursary Award 2016. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1534328877775-T3N88NXEMOWDE7JPRGJ2/Nick+Roth+by+Tony+Carragher+LO.jpg Projects - Just beneath the surface Instrumentation: soprano saxophone, piano Type: ensemble Year: 2012 Premiere: Performed by Izumi Kimura and Nick Roth, 18th October 2012, National Concert Hall, Dublin. Duration: 6’ This piece is written in rondo form, with the main theme being initially introduced and always carried by the piano. These continuous textures are contrasted by the more fragmented melodies of the saxophone which weave their way about the framework of the piano. The sonority used is predominantly the minor triad, with large chromatic passages to provide variation. Photo: Nick Roth by Tony Carragher https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1534329211957-EH0NWH6UN4IP3LYAE61W/i%27venever+felt+so+alive.jpg Projects - I've never felt so alive Instrumentation: narrator, narrator, adapted viola, recorders, bass clarinet, kithara, chromelodeon. Type: ensemble Year: 2018 Premiere: Performed by the Scordatura Ensebmle, Spring Festival, 11th April 2018, Korzo Theatre, Den Haag. Duration: 6’ I've never felt so alive was written for the Amsterdam based Scordatura Ensemble, who specialise in the works of Harry Partch. It was premiered as part of Rose Petal Jam, a concert tour featuring Partch's earliest chamber works. As such the piece was influenced by Partch and was an exploration of his tuning systems and the instruments he designed. The piece is structured around the narrator's text with all the instrumental parts related to the speech through a system of expansion and contraction of their rhythmic patterns and melodic contours. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1534330033686-KZUPMNQLS2JUX2PJY9XB/Rite+poster+no+info+ideal.jpg Projects - Introduction Part II: the Sacrifice Instrumentation: violin, viola, cello Type: ensemble Year: 2013 Premiere: Performed by Kirkos, Kirkos Rite,29th May 2013, Odessa Club, Dublin. Duration: 5’30 Written for Kirkos Rite - a concert 100 years to the day after the premiere of Stravinsky's infamous Rite of Spring. Fourteen composers ranging from some of Ireland's most reputable, to students of the RIAM each reimagined a movement of the original for string trio, all presented with live visuals by Tim Redfernr For me, there were two main features that I wanted to work with for my re-imagining of this movement. The first was the initial meandering accompaniment motif complete with its string melody. I blended my own material into this so that only hints of Stravinsky’s original music remain. The second was the slow contrapuntal theme which is introduced by the trumpets. This is slowly revealed to the listener through fragments composed of the individual lines, before being heard in full. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1534330676230-T9N0E9T0KVNYLGTJE3V2/Quietlyturningtodust+squareish.jpg Projects - Quietly turning to dust Instrumentation: violin, cello, piano Type: ensemble Year: 2012 Premiere: Performed by Kirkos at Kirkos D2, 14th December 2012, RIAM. Duration: 4’30 (from Macbeth, by William Shakespeare) Tomorrow, and tomorrow, and tomorrow, Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life's but a walking shadow, a poor player, That struts and frets his hour upon the stage, And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1534330845184-WS0Q9L3R6E8K6TXHQ5L3/11244943_10206936731201440_6313938308168641914_o.jpg Projects Instrumentation: soprano, piccolo, bass clarinet, viola, cello, piano Type: ensemble, vocal Year: 2015 Premiere: Performed by Alluna Ensemble and soprano Sara di Bella, 7th May 2015, RIAM. Duration: 2’ Red Mass was written for performance by the Alluna Ensemble and soprano Sara di Bella as part of RIAM's 'Responses to Pierrot Lunaire' Project in May, 2015. I used the text and instrumentation from no. 11 'Red Mass' or 'Rote Messe' of Schoenberg's Pierrot Lunaire. For the final two lines in my piece the singer uses the German translation. 'Sein Herz - in blutgen fingern - Zu grausem Abendmahle!' It is a transformation representing the desanctification of the communion which is described in the text. To gruesome grim communion, By blinding golden glitter, By flickering shine of candles, Comes to the altar – Pierro_ His hand, to God devoted tears wide the priestly vestment, At gruesome grim communion, By blinding golden glitter. He makes the sign of the cross blessing the trembling, trembling people, with trickling crimson wafer: his heart in bloody fingers, at gruesome grim commumion English translation by Andrew Porter. Text by Albert Giraud https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1534331064231-0SV7QE90TATOUPKAAATU/StringTrio.jpg Projects - String Trio No. 1 Instrumentation: violin, viola, cello Type: ensemble Year: 2013 Premiere: Performed by Node Ensemble, 8th March 2013, Samuel Beckett Theatre, Trinity College Dublin. Duration: 4’30 This string trio is an exercise in isorhythmic techniques. I chose a series of 7 pitches as my color and applied them to an order of rhythms called a talea. At different times during the piece, this process is disrupted by more freely structured rhythmic sections. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1534331646321-95Q3ANH4WWV70W8GVJ9W/flute+and+b+clarinet.jpg Projects - Study for flute and bass clarinet This work was written for a masterclass performance with Sir Peter Maxwell Davies. Instrumentation: flute, bass clarinet Type: ensemble Year: 2013 Premiere: Performed by Bill Dowdall and Paul Roe, 4th March 2013, RIAM, Dublin. Duration: 5’ Photo: Sir Peter Maxwell Davies https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1533916627679-5UYKBCHEL98WC1DISCY5/29a3475.jpg Projects - Die Zauberflöte Sound Design for performance as part of RIAM’s annual opera production 2016, Die Zauberflöte. Type: theatre Year: 2016 Premiere: 10th/12th/13th/15th/16th January 2016 at the Samuel Beckett Theatre, Dublin. Director: Tom Creed Conductor: Andrew Synnott Lighting Designer: Paul Keogan Costume/Set Design: Students from IADT’s Design for Stage and Screen programme Photos by Colm Hogan https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1533920020411-MDP228HUZ8RPIOQXWQD3/10688062_769907039737898_6606471025379653944_o.jpg Projects - Horizontal and Vertical Instrumentation: soprano, saxophone, trumpet, double-bass, drum-kit Type: ensemble Year: 2014 Premiere: Performed by Rhombus jazz quintet at ICC10, 19th November 2014, Projects Arts Centre, Dublin. Horizontal and Vertical was performed as part of Synergy: an immersive work, responsive to its environment, co-written by four composers for Rhombus jazz quintet. My contribution, ‘Horizontal and Vertical’ is a site specific work which uses details, patterns and forms from the room’s architecture as a score to create musical material and structure. Photos by Daryl Feehely https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1534000906247-K35VXSY85L07HNCNMOMO/IMG_20160825_132940_218.jpg Projects - Love Song #1 Post card piece for solo performer. Instrumentation: voice Type: solo Premiere: Performed by Robbie Blake and Tonnta Music at Postal Notes, ICC Speak, 4th November 2016 at the Irish Architectural Archives. Duration: indeterminate https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1534003811295-IF3ZTS4FE6VJNGMM36VI/Screenshot_4.jpg Projects https://static1.squarespace.com/static/5b6434c4710699360ad4b4ef/t/5b7bf03d898583eac18800fa/1533813184998/ Projects https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1533652525765-0DM1L51K3BRIRZYVORWW/xenakis_portrait.jpeg Projects - Hommage À Xenakis Acousmatic fixed media Premiered at the Smock Alley Theatre as part of ICC Insight series with visuals by Slipdraft: June 4th 2016 This work was very much influenced by the Greek-French composer Iannis Xenakis. I approached the piece in a physical manner, initially sketching it in terms of line and shape (See accompanying form sketch) . Three distinct sections emerge from this plan, however, a continuous line works its way through the piece from the low rolling bass sounds at the beginning to the undulating strands at the end. It is in a musique concrete style, using a combination of synthesized elements and recordings of jetplanes, amongst other things as the base material. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1533810939689-Q1XFD2A1SA8WTVD8UJPT/image-asset.jpeg Projects - RUNNING BLIND 2017 at RuaRed Trailer Trailer Credits: Director- Laura Sarah Dowdall Music, Sound Design- Robert Coleman Director of Photography- Jass Foley DOP assistant- Malena Jeurss Performers-Valentia Gaia Lops, Laura Sarah Dowdall Type: theatre, installation Year: 2017 Premiere: 25th/26th August 2017, RUA RED Arts Centre, Tallaght. Running Blind - An interactive dance performance that brings the audience on a journey through the senses, guiding them to experience dance in an exciting new way. Dance and Choreography: Laura Sarah Dowdall Valentina Gaia Lops Kate Stephens Marketa Formanova Sound Design: Robert Coleman Production: Hillary Dziminski Arthur Janowsky Jass Foley Malena Juerss Technician: Hugh McCarthy This work is accessible to all. Website: www.runningblind.ie https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1533743172600-7E8GPT3RBFV2MXFIAUV8/image-asset.jpeg Projects - There Once Was Live recording of the premiere performed by the Dublin Laptop Orchestra Instrumentation: 4 laptops, 4 gametrak controllers Type: electro-acoustic/multimedia Year: 2013 Premiere: Performed by the Dublin Laptop Orchestra, 13th November 2013, National Concert Hall, Dublin. Duration: 6’ There Once Was is written for live improvised electronics There Once Was is a spoken word piece based upon four well known fairy-tales. In approaching this piece I treated the performers like a quartet: working with each other, while having their own voice within the piece. I chose four narrators: a soprano, alto, tenor and bass to each fill up one of these parts. Central to the composition is a play on the rate of playback, affecting the voices’ tone, pitch and rhythm. The four narrators are Margaret Bridge, Heather Fogarty, Ben Escorcio and Benjamin Russell. The four fairy-tales are…well, you should know! Photo by Nathy Coleman https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1534851779317-XWFKNIQ1IUZ6AGLAG36L/11745319_1667205926846694_356732866190064586_n.jpg Projects - The Space Inside Live recording performed by the Esker Festival Orchestra at St Ann’s Church, Dawson Street, Dublin. Instrumentation: 2, 2, 2, 1 - 2, 2, 2, 1, timp, str Type: orchestral Year: 2015 Premiere: Performed by the Esker Festival Orchestra, conducted by Peter Joyce, 10th July 2015, Aula Maxima, NUI, Galway. Duration: 8’ The Space Inside was the winner of the Esker Festival Orchestra Call for Scores 2015 and was premiered in Galway, and subsequently toured to Limerick, Cork and Dublin by the Orchestra. The Space Inside was written as the first movement to a three part orchestral work, ‘Inside, Outside and the Space Between’. It is also intended to work as a standalone piece. The original idea behind the work was that of a journey from internal or ‘inside’ spaces to outside spaces. The Space Inside therefore represents this sense of movement; as people wake up in the morning, moving from room to room, taking in the day as the light plays about them. Each theme can be seen to represent a different room or space along the way. Lastly they move in, to greet the morning sun, represented by the final triumphant calls heard in the orchestra. The piece is written in sonata form with an added fugato section leading to the finale. The various sections are often framed by what I describe as the ‘brass pillars’ which also provide a kind of structural and harmonic basis for the piece. They act as tonal centres around which the other sections develop. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1534876273497-VM6IROK22IX1Y0TB7DCU/Score+Sketch+Trumpet+Workshop+T+CROP.jpg Projects - "Since when", he asked, "Are the first line and last line of any poem, Where the poem begins and ends?" Graphic score work written for workshop with Marco Blaauw Instrumentation: 4 trumpets Type: ensemble Year: 2017 Duration: indeterminate https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1533743295790-325H4HIEYQFDG683MIGA/image-asset.jpeg Projects - Micro + Macro (Extract) Live recording of the premiere Instrumentation: bass clarinet Type: solo Year: 2014 Premiere: Performed by Sarah Watts, 18th March 2014, RIAM Duration: 4’20 Micro + Macro is a short two movement piece for bass clarinet. The structure of each of the pieces is derived from a single tone row and was written as a short exercise to fulfill a college project brief. Micro is the slower, more sombre of the two movements and explores mainly the low register of the bass clarinet. Macro is a more light hearted movement. This takes the same tone row and treats it very differently. It uses the full row in a more conventional serialist manner. However I introduced a kind if bias towards certain notes to give a sense of progression throughout the piece. Photo by Nathy Coleman https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1555622063133-C7ATEEASPX2TLYH571MZ/IMG_0161.JPG Projects - Energy is also important by Robert Coleman performed by the Residentie Orkest Live recording performed by the Residentie Orkest and conducted by Antony Hermus. Instrumentation: 3d1, 3, 2, 2 - 4, 2, 3, 1, 2 perc, str Type: orchestral Year: 2018 Premiere: Performed by the Residentie Orkest, conducted by Antony Hermus, 19th October 2018, Zuiderstrandtheatre, Den Haag. Duration: 1’30 Energy is also important is an orchestral miniature written for the the Residentie Orkest. For this piece I was inspired by Charlie, the doorman at the construction site for the OCC, the Hague. He spoke to me of life working on the site but also of his past and most unexpectedly, doing service in the Lebanon. This piece aims to evoke his positivity and enthusiasm while also quietly reflecting on the realities of life. It uses his words “I see the stars, I'm there again”, which references how the night sky takes him back to his time in war. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1563013528808-QOK846DBX57LNUW7DDIM/RobEndColoursmyCameraCROP.jpg Projects - Colours depend on the light you see by Robert Coleman performed by the SinfoNua Orchestra COLOURS DEPEND ON THE LIGHT YOU SEE BY ROBERT COLEMAN PERFORMED BY THE SINFONUA ORCHESTRA Live recording performed by the SinfoNua Orchestra and conducted by David Brophy at the National Concert Hall, Dublin, 3rd September 2018. Instrumentation: 2d1, 2, 2, 2+1 - 4, 3, 3, 1, 2 perc, str Type: orchestral Year: 2018 Premiere: Performed by the SinfoNua Orchestra, conducted by David Brophy at the Cork School of Music, 2nd September 2018. Duration: 12’30 Words by: Luna Fides Colours depend on the light you see was commissioned by the National Concert Hall, Dublin as part of the Jerome Hynes Young Composers' Award 2017 Colours depend on the light you see is an exploration of music as object. Various blocks of material are introduced and then revealed in another context, either layered with other material, expanded, contracted or fragmented. The result is a quasi-static atmosphere where changing perspectives and viewpoints are given of the various musical entities. The title is a phrase from Joyce's Ulysses and I chose it because of how it references the vast array of colours (essentially different perspectives) that can be produced from a single entity (light). (extract from) Spaces i once read that there are names for the spaces in between body parts, architectural structures, musical notes. names for spaces as if they are real concrete solid and not just gaps voids silences https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1533748887346-F5XMXMCQ7L34XBGR9KHL/image-asset.jpeg Projects Workshop performance by Cassiopeia Winds at the Irish Composition Summerschool, 5th July 2014. Instrumentation: flute, clarinet, oboe, bassoon Type: ensemble Year: 2014 Duration: 4’45 Photo by Nathy Coleman https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1567165343471-MHSMDB5M7YTKVEVSJMP2/Diamond+Cutting+filter.jpg Projects - Diamond Cutting Live recording of premiere performed by Carlos Castro van der Elst and Rakhadin Yarmetov Instrumentation: Quarter tone pianos (Piano II tuned a quarter tone down) Type: ensemble/multimedia Year: 2019 Premiere: Performed by Carlos Castro van der Elst and Rakhadin Yarmetov at the Arnold Shoenbergzaal, Royal Conservatory the Hague, 2nd April 2019 Duration: 8’ This work comprises of different cuttings from a musical object. The object is formed from a numerical sequence based on the number of forms of polyiamonds that can be created from an equilateral triangle. The cutting of the object was an intuitive process to reveal the beauty of the material and as such I refer to the object as a diamond and the act of writing this work as diamond cutting. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1573732965436-NA8IXEE9KAX07NGYBQA7/Cross+graphic.jpg Projects - Cross Type: installation Year: 2019 Duration: 7’30 loop Premiere: Kirkos Attrition at Farmleigh House, Dublin, 21st September 2019 Cross is an audiovisual work taking inspiration from a leading figure of the Irish Rebellion, Thomas Ashe. In 1917 Ashe was imprisoned by British authorities for seditious speech. He was sentenced to two years hard labour, however refuted any criminal sentence and responded by going on hunger strike at Mountjoy Prison. He died five days later as a result of overly rough force feeding by the British authorities. In 1916 while imprisoned in Lewes, Brighton, for his participation in the Easter Rising, Ashe wrote the song, 'Let me carry your cross for Ireland, Lord'. Cross is my response to Ashe's song and features solely his words and melodies Cross was first exhibited at Attrition ж A Musical Tribute to a Lost Generation on 21st September 2019 at Farmleigh House. It originally was installed with each figure on a separate screen. This is an online version where the three figures are condensed onto one screen. Performer: Sam Burton Sound and video recording: Bryan Fleming https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1588589516876-J2RFD09YO6BGUUR0ABCJ/image-asset.jpeg Projects - City Koto Triptych City Koto Triptych by Robert Coleman and Pim Piët Type: fixed multimedia Year: 2020 Duration: 8’ Premiere: Spring Festival Online, Den Haag, 14th April 2020 Concept/design: Robert Coleman and Pim Piët Audiovisual composition: Robert Coleman Performer: Robert Coleman Instrument design: Pim Piët City Koto Triptych is an audiovisual composition featuring the City Koto, an instrument designed by artist Pim Piët. I recorded improvisations in three closely related tunings and formed the work from this material. The visuals also feature additional imagery of the instrument, creating shifts in the visual scale, allowing for different perspectives on the sound. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1588592600253-ALC66P52NDGQY4E87H8Q/image-asset.jpeg Projects - How many sides do you see? "The shape of the sky cannot be explained as a physical phenomenon, but is the result of your own observation, an impression created inside your own head. The Celestial Vault is not a sculpture in the landscape, but a tool to look at light and colour” James Turrell Instrumentation: clarinet (doubling bass clarinet), accordion, double bass Type: site specific, ensemble Year: 2019 Premiere: Performed by But What About: Wilco Oomkes (Accordion), Julian Sarmiento (Double Bass), Vincent Martig (Clarinet), 4th May 2019 at James Turrell’s Celstial Vault, Kijkduin Duration: 34’ "The shape of the sky cannot be explained as a physical phenomenon, but is the result of your own observation, an impression created inside your own head. The Celestial Vault is not a sculpture in the landscape, but a tool to look at light and colour” James Turrell How many sides do you see is a site specific work for accordion, clarinet and double bass written for performance at James Turrell's Celestial Vault, Kijkduin. The work is inspired by light, and uses the data from a daylight spectrum to create musical material. From this five movements are drawn out, representing five colours of the spectrum; Red, Orange, Yellow, Blue and Violet. There is no full score for the work. For every movement, each instrument has its own specific position around the site ranging from most distant from the centre, to gathering together at the centre. In this way the movement of the performers represent the movement of the sun across the sky. Special thanks to Stroom Den Haag and to the Creative Departments of the Koninklijk Conservatorium Den Haag for support https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1534878971001-S88CIIEBFKEF8IR29IN2/Screenshot_17.jpg Projects - A Pairing (extracts) A live recording from 'Leap', a collaboration between Kirkos and the Irish National Youth Ballet Instrumentation: flute, violin, percussion Type: theatre, ensemble Year: 2014 Premiere: Performed by Kirkos and INYB at Kirkos: Leap, 31st March 2014, RIAM. Duration: 4’ Composer: Robert Coleman Choreography: Aoife Murray O'Brien and Aoibh NíRíain Broin Dancers: Aoife Murray O'Brien and Saoirse Delaney ‘A Pairing’ is a simple dialogue between instruments. The flute and bass drum set a more serene mood with their initial pairing. This is interrupted by the more irascible violin accompanied by the snare drum. An encounter ensues between flute and violin and they join together for the final showdown. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1533743475257-GINW8GHQJWEQ2N8F8BIB/image-asset.jpeg Projects - When Cracks Appear In Porcelain Type: electro-acoustic/multimedia Year: 2013 Premiere: Performed at Hilltown New Music Festival, Listening Room, 20th/21st July 2013 Duration: 5’ Fixed media acousmatic work Guitar samples by Bryan Fleming When Cracks Appear in Porcelain is a work of contrasts. Long sustained guitar swells are brought into contact with granular synthesis to create a chilled atmospheric sound. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1534873166224-D68LASPT0AF08WF33VJV/white+wall+crop+1.jpg Projects - Look at it other way round Instrumentation: 6 soprano voices Type: vocal Year: 2018 Premiere: Performed by Universe Birds, conducted by Georgi Sztojanov, Spring Festival, 9th April 2018, Korzo Theatre, Den Haag. Duration: 11’ 'Look at it other way round' is written for a vocal ensemble of six sopranos. Musical material was first written and then reduced and expanded to different proportions and presented like variations on a theme. The inspiration for this comes from my current research into architectural representation and how objects can be presented at various scales allowing the viewer to relate to it in an entirely different way. This idea is also reflected in the text which is taken from James Joyce's Ulysses. The words vary from coherent phrases to more chaotic fragments and the result is music which at times is intelligible, and at other times is pushed out of context and beyond normal comprehension. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1607448014106-8ELLIJLD6R1DK8UM28EH/image-asset.png Projects - Solid Study Performed by Sebastian Adams (viola) and Robert Coleman (electronics) at Korzo Theatre, Den Haag, 3rd June 2019 as part of Koninklijke Conservatorium Composition Department Graduation Festival. Instrumentation: viola and quadraphonic recording/playback system Type: solo, multimedia Year: 2019 Duration: 14’ 'Solid study', for viola and quadraphonic recording/playback system is a study of musical object in my work. The object undergoes transformations of pitch, rhythm and timbre, each of which has a specific location within the performance space. These different perspectives are all drawn from the same root and over time build up a unified and solidified impression of the object as a whole. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1609774798795-4ABGD474JFLY2AZK47J5/image-asset.jpeg Projects - Decay is inherent in all things by Robert Coleman Recorded for Kirkos Biosphere on 21st September 2020 at the Hellfire Club, Dublin. Instrumentation: violin, 3 field recorders Type: solo/multimedia Year: 2020 Premiere: Kirkos Biosphere on 21st September 2020 at the Hellfire Club, Dublin. Performed by Jane Hackett (violin), Paul Scully, Ilona Adams and Robert Coleman (field recorders) Duration: 20’ Decay is inherent in all things These words are said to be some of the last spoken by Siddartha Gautama, the Buddha. Decay is inherent in all things is an outdoor work for solo violin and 3 field recorders and 3 portable speakers. A chain of these microphones and speakers line up across the site. Sounds are recorded and played back and passed down the chain, each time getting more decayed but also picking up new sounds in the process. A kind of structural and temporal counterpoint emerges between the violin and it's decaying self which moves further and further into the distance. This work deals with one of my main fascinations: creating multiple viewpoints or perspectives on musical material and in this case it also allows the surrounding soundscape to seep in and become part of the fabric of the work. Commissioned by Jane Hackett with funds from the Arts Council of Ireland, Music Commission Award 2019 https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1611598486000-1NK4I8U5KZ67DA1NFI4F/image-asset.jpeg Projects - Double Triptych (extracts) for 3 pairs in 3 spaces and intercom system Instrumentation: soprano, mezzo soprano, bass, violin, flute, cello and intercom system Type: installation Year: 2019 Premiere: Listening Bodies, Smock Alley Theatre, Saturday 9th November 2019. Duration: 10’ Pair 1: Eileen Coyle and Jane Hackett - Soprano and violin (Main Space) Pair 2: Emma Power and Susan Geaney - Mezzo soprano and flute (Boys School) Pair 3: Tristan Caldwell and Yseult Cooper Stockdale - Bass and cello (Banquet Hall) Double Triptych focuses its structure spatially with performers simultaneously in 3 different spaces connected via an intercom system. Double Triptych was first performed at Listening Bodies: A 4 hour exhibition of live and installation music curated and performed by Tonnta and Kirkos at Smock Alley Theatre, Saturday 9th November 2019. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1611605436297-70Y3UZBDD3XR2JESA8OF/image-asset.jpeg Projects - Speaking Tubes #2 Speaking Tubes #2 was the culmination of the Composition beyond Music residency with Peter Ablinger at West Den Haag Type: Installation Year: 2019 Premiere: Symposium: Transformations of the Audible, West Den Haag May 16th 2019 Duration: circa 1 hour Speaking Tubes #2 is a reflection on the nature of sound and its representation through language. The title makes reference to the system of pipes which were traditionally used for communication over extended distances, commonly on ships and other vehicles. The work engages with the open space of the library and simultaneously the more private space of the individual listener. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1629909209025-BPHN001UWNVT4RC8GKQL/image-asset.jpeg Projects - The Colour Green | Robert Coleman Instrumentation: bass baritone, flute, clarinet, horn, trumpet, trombone, bass drum, glockenspiel, celeste, violin, viola, cello, doubl bass Type: vocal, theatre, orchestral Year: 2020 Premiere: Online, 17th December 2020. Mark Boyle, having given up technology for a life in rural Galway, meditates upon his daily rituals; of writing by hand and the ease to which sleep finds him. Music Robert Coleman Text Mark Boyle Bass-baritone David Howes Director Hugh O'Conor Conductor Fergus Sheil Animator Holly Keating Audio Production Ergodos RTÉ Concert Orchestra https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1643316548537-BBMPN4QHUCEDRLADWVD7/image-asset.jpeg Projects - 100 Metres Instrumentation: violin, viola, cello, double-bass, piano, electric guitar, percussion, flute, clarinet, trombone Type: ensemble, multimedia Year: 2021 Premiere: Performed by Crash Ensemble, Free State 13, 25th April 2021, New Music Dublin Festival. Duration: 8’ 100 Metres is an audiovisual work commissioned by Crash Ensemble and New Music Dublin. It deals with one of my main fascinations in music which is creating multiple perspectives of material. In this piece the concept can be likened to a kind of photocopier where we experience reduced, original and expanded forms of a source. This concept is applied to both the music and visuals to create one connected experience for the viewer/listener. The visuals which contain changing viewpoints of choreographed hand movements interchanged with olympic athletes reflect, echo and at times contrast with the perspectives of the music. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1643319405712-EFQMQGV306CCA67DC5V2/image-asset.jpeg Projects - Wings Type: installation Year: 2021 Duration: 18’ loop with continuous live feed Premiere: Fuddlefest, 21st-22nd August 2021 In June I came to Fuddletown to do some field recording of the area. It was a beautiful sunny summer's day and the birds were singing, more or less constantly. In fact I was surprised by how often they sang. On listening back to the recordings there was hardly a moment when the birds could not be heard. I then began to focus in on another sound they made, which is perhaps less what we think of when we think of bird sounds – their wings. The recordings featured many examples of their wings beating, flapping and fluttering and I began to process these and assemble a soundscape based around them. In this way this work became a kind of comtemplation of birds and their wings and the incredible journeys which they make with them. The swallow also became a particular focus as a family had nested in the garage just beside the greenhouse where this installation takes place. All audio environmental recordings were taken at Fuddletown on June 19th which were then combined with sounds and also video of the harmonium. (found video footage of swallows also features for the visuals) https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1645616794237-UV2ZWJXSHNES7YMAJEG4/image-asset.png Projects - South Dublin County Soundwalk Composed by Robert Coleman with the pupils of Scoil Chrónáin and Rathfarnham Parish National School. To listen to the South Dublin County Soundwalk follow this link to bandcamp here AltEnts have staged a Children’s Music festival each June since 2007. Covid-19 restrictions mean that the 2021 festival cannot feature live workshops and performances in participating schools, 'South Dublin County Sound Walk' is a project that has been developed to allow for the festival to continue online, and to engage with its festival cohort this year. From April to June 2021, 5th and 6th class students from Scoil Chrónáin and Rathfarnham Parish National School have been working with composer Robert Coleman to make a sound art piece comprising of the sounds of their everyday lives, conversations and random sound pieces captured in their homes and on their lockdown walks with family and friends. Robert has been assisted by one of SubSounds lead mentors Elton Mullally, and by sound engineer and musician Bryan Fleming. We are so excited for you to hear the amazing work of the incredibly talented children and artists involved in this project. The finished product will be launched on our various social media platforms on the 12th of June as part of Cruinniú na nÓg 2021, the national day of free creativity for children. credits released June 12, 2021 Composed by Robert Coleman with the pupils of Scoil Chrónáin and Rathfarnham Parish National School. Piano, harmonium and electronic processing by Robert Coleman. Guitars by Bryan Fleming. Field recordings - the pupils of Scoil Chrónáin and Rathfarnham Parish National School (see track credits for participants' names). Produced by Robert Coleman, Elton Mullally and Bryan Fleming. Recorded in Cabinwood Studios by Robert Colemen and Bryan Fleming. Mixed and mastered by Bryan Fleming https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1645721216145-PPAT0FRZN3KN0J205ETO/image-asset.jpeg Projects - Bio-Coill Year: 2021 Type: electro-acoustic, site-specific Bio-Coill, in collaboration with poet/singer Molly May O'Leary is a study into the links and tensions between the 'artificial' and the 'natural' in Ireland's woodlands. Taking the form of a site-specific performance among the trees at Ticknock forest and recorded for broadcast on As if radio. As if radio.. is a collaborative radio space created in response to the 26th UN Climate Change Conference of the Parties (COP26) in Glasgow on 31 October – 12 November 2021. Based on ideas and practices of ecological radio and acts of listening, this long-form broadcast will bring together contributions by climate activists and artists, both those gathering around the Conference in Glasgow and those individuals and communities around the world seeking to bring their voices to the collective demands for climate justice. Situated in Glasgow for the duration, As if radio (Air) will provide a platform for the voices less often heard at such events, interweaving these with ecological sounds combining live coverage and commentary from the COP and widening the soundfield to areas out with the official event. We anticipate a rich listening experience combining environmental streams from the Acoustic Commons network with a mix of reportage, radiophonic works, critical perspectives and environmental sounds, sonic interventions and untold stories of the climate crisis. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1678463851284-LVISHVROLNHLKSKWNANL/image-asset.jpeg Projects - Budding Sounds Installation and Exhibition Documentation (full version) Budding Sounds is a climate change and sound art project that composer and sound artist Robert Coleman initiated with students from Clonburris N.S. and Rathfarnham Parish N.S. Beginning in January 2022 the participating schoolchildren took part in a 12-part series of environmental education and sound art workshops co-presented by Robert and fellow members from Climate Love Ireland; Talita Marcillo, Cathelijne de Wit and Climate Love Ireland founder Laragh McCann. At the heart of the project was a tree planting initiative where the schoolchildren planted native trees in their schools and some at their homes too. Regular visits to the trees, checking in on their growth and development provided a backdrop to the workshops which included creative exercises such as composing sound collages, making sound maps, and field recordings, nature connection meditations as well as presentations on air pollution, biodiversity, sustainability, and more. This all combined into one educational art-science experience, teaching the schoolchildren more about our environment, what they can do to help, and crucially, creative ways in which to express themselves about it. The project culminated with a sound installation and exhibition at Rua Red South Dublin Art Centre on 1st/2n July 2022. This showcased creative work by the children, Robert, and Climate Love Ireland members expressing the stories and progress of their tree planting, as well as what the schoolchildren learned and their hopes for the future. In collaboration with Climate Love Ireland, facilitated by Alternative Entertainments and funded by Creative Ireland South Dublin. https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1678464397598-SJ3XA04F5I1CUQ0URAUW/image-asset.jpeg Projects - River Dodder Soundwalk The River Dodder Soundwalk is a site-specific soundwalk to be listened to while walking the river. It is a celebration of the River Dodder in South Dublin and all its many facets. The Soundwalk is in three separate movements, each accompanying a separate section of the walk. It features field recordings taken all along the river, as well as music and narration which guides you along the river’s path downstream. Mvt 1: Old Bawn to Balrothery Weir Mvt 2: Balrothery Weir to Bushy Park Mvt 3: Bushy Park to Orwell Park Field recordings, composition, text and narration: Robert Coleman Text editor: Tom Roseingrave Soprano voice: Molly May O’Leary Electric Guitar and Shakuhachi: Bryan Fleming. Harmonium: Robert Coleman Sound engineer: Bryan Fleming Supported by the South Dublin County Council https://images.squarespace-cdn.com/content/v1/5b6434c4710699360ad4b4ef/1715772277579-8A54JY1ZHCRPZXE6WODM/image-asset.jpeg Projects - Robert Coleman and Larissa O'Grady 'Capturing Sound' (2023) Recording performed by violinist Larissa O’Grady and Robert Coleman at the Contemporary Music Centre, Dublin. Instrumentation: violin, live field recordist and fixed media electronics Type: solo, multimedia Year: 2023 Duration: 7’ Commissioned by Larissa O’Grady with funds from the Arts Council of Ireland. ‘Capturing sound in its “outdoor” context triggered a culture of sonic extraction that mirrored the drive for natural resources.’ This quote by Mark Peter Wright is fragmented and heard throughout the work. It is a reflection on how we consume today and how the act of recording wildlife could also be considered as something extractive. Field-recording has become central to my work in recent years as I have been developing my practice of the ecological soundwalk. Capturing Sounds merges this world and ideas inherent in field-recording with my concert work. Throughout the piece using my field recording equipment I record the music and sounds on stage and play them back into the space, building up layers with which the violinist interacts. The tension between the live and recorded sound represents the distance we put between ourselves and the wild world outside. The soundworld is inspired by the drumming of the great spotted woodpecker which I have recorded in County Wicklow, Ireland. https://www.robertcolemancomposer.com/events-by-year daily 0.75 2026-02-11 https://www.robertcolemancomposer.com/dublin-port-soundmap-blog daily 0.75 2021-10-05 https://www.robertcolemancomposer.com/dublin-port-soundmap-blog/2021/10/5/dublin-port-030-time-lapse-24-hours-in-24-minutes monthly 0.5 2021-10-05 https://www.robertcolemancomposer.com/dublin-port-soundmap-blog/2021/10/5/dublin-port-029-bull-wall-north-bull-island monthly 0.5 2021-10-05 https://www.robertcolemancomposer.com/dublin-port-soundmap-blog/2021/10/5/dublin-port-028-clontarf monthly 0.5 2021-10-05 https://www.robertcolemancomposer.com/dublin-port-soundmap-blog/2021/9/7/dublin-port-027-poolbeg-lighthouse monthly 0.5 2021-10-05 https://www.robertcolemancomposer.com/dublin-port-soundmap-blog/2021/9/6/dublin-port-026-poolbeg-lighthouse-pampo-ferry-passing monthly 0.5 2021-10-05 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