programme
I’ve been thinking a bit about death lately. Morbid? Not necessarily! I think considering the end can make every moment far more meaningful.
A wise man from the near east around 3000 years ago said that “all streams run to the sea, and yet the sea is not full”. There is a repetition to life that extends through our existence and spreads backwards and forwards into times beyond us. The earth continues to spin and move around the sun, streams run, and we will come and go. There is an intangibility, and a fleetingness. Music itself is transient- isn’t it telling that we describe notes as “decaying”? Yet something being short-lived doesn’t make it any less beautiful. This programme emerges from these reflections.
The first work, passagio is titled after the term in classical singing to describe the transition area between vocal registers, and explores the differences in the guitar’s timbre as you move up and down the instrument. The work is built upon certain chords which come and return throughout the work, phrases ended with longing chords and without resolution. Beauty that sparkles briefly, then fades.
Nocturnal after John Dowland is a reverse theme and variations (where the theme is stated at the end rather than the beginning) that explores that lucid space between waking and sleeping. The original work, by John Dowland, is a song with lyrics printed below.
Come, heavy Sleep, the image of true Death,
And close up these my weary weeping eyes,
Whose spring of tears doth stop my vital breath,
And tears my heart with Sorrow’s sigh-swoll’n cries.
Come and possess my tired thought, worn soul,
That living dies, till thou on me be stole.
The final work of the programme, Electric Counterpoint, finds its inner logic in the repetition of various phrases and riffs which arise, pass away, and return, reminiscent of the all the streams which run to the sea…yet it is absolutely bursting with joy!
I’d like to thank Professor Allan Neave and Matthew McAllister for helping me prepare for this recital, especially in light of the issues I’ve had with my hands since October. I’m also very grateful to the guitar and harp department for their support and helpful feedback throughout the process of preparing these works. A particular shoutout goes to my head recording engineer, best friend, and husband, Azariah.
Finally, I’m so thankful to God for sustaining me and enabling me to perform today.
- Due to time restraints, please refrain from rapturous applause, or applause of any kind, until the end of the recital -
passagio, Hilary Purrington
Abbey Felton, guitar and voice
Nocturnal after John Dowland, Benjamin Britten
Abbey Felton, guitar
i. Musingly
ii. Very Agitated
iii Restless
iv. Uneasy
v. March-like
vi. Dreaming
vii. Gently Rocking
viii. Passacaglia
ix. Slow and Quiet (Dowland's theme)
Electric Counterpoint, Steve Reich
Abbey Felton, electric guitar
i. Fast
ii. Slow
iii. Fast
backing for Electric Counterpoint performed and recorded by Abbey Felton
backing for Electric Counterpoint mixed by Azariah Felton
A wise man from the near east around 3000 years ago said that “all streams run to the sea, and yet the sea is not full”. There is a repetition to life that extends through our existence and spreads backwards and forwards into times beyond us. The earth continues to spin and move around the sun, streams run, and we will come and go. There is an intangibility, and a fleetingness. Music itself is transient- isn’t it telling that we describe notes as “decaying”? Yet something being short-lived doesn’t make it any less beautiful. This programme emerges from these reflections.
The first work, passagio is titled after the term in classical singing to describe the transition area between vocal registers, and explores the differences in the guitar’s timbre as you move up and down the instrument. The work is built upon certain chords which come and return throughout the work, phrases ended with longing chords and without resolution. Beauty that sparkles briefly, then fades.
Nocturnal after John Dowland is a reverse theme and variations (where the theme is stated at the end rather than the beginning) that explores that lucid space between waking and sleeping. The original work, by John Dowland, is a song with lyrics printed below.
Come, heavy Sleep, the image of true Death,
And close up these my weary weeping eyes,
Whose spring of tears doth stop my vital breath,
And tears my heart with Sorrow’s sigh-swoll’n cries.
Come and possess my tired thought, worn soul,
That living dies, till thou on me be stole.
The final work of the programme, Electric Counterpoint, finds its inner logic in the repetition of various phrases and riffs which arise, pass away, and return, reminiscent of the all the streams which run to the sea…yet it is absolutely bursting with joy!
I’d like to thank Professor Allan Neave and Matthew McAllister for helping me prepare for this recital, especially in light of the issues I’ve had with my hands since October. I’m also very grateful to the guitar and harp department for their support and helpful feedback throughout the process of preparing these works. A particular shoutout goes to my head recording engineer, best friend, and husband, Azariah.
Finally, I’m so thankful to God for sustaining me and enabling me to perform today.
- Due to time restraints, please refrain from rapturous applause, or applause of any kind, until the end of the recital -
passagio, Hilary Purrington
Abbey Felton, guitar and voice
Nocturnal after John Dowland, Benjamin Britten
Abbey Felton, guitar
i. Musingly
ii. Very Agitated
iii Restless
iv. Uneasy
v. March-like
vi. Dreaming
vii. Gently Rocking
viii. Passacaglia
ix. Slow and Quiet (Dowland's theme)
Electric Counterpoint, Steve Reich
Abbey Felton, electric guitar
i. Fast
ii. Slow
iii. Fast
backing for Electric Counterpoint performed and recorded by Abbey Felton
backing for Electric Counterpoint mixed by Azariah Felton
