Welcome to my final recital at the Royal Conservatoire of Scotland! I’m so glad you’re here!
This recital is a celebration of the things I’ve been able to do and the opportunities I’ve had while studying my master’s: developing my collaborative practice, studying composition, playing electric guitar, and honing my approach to new music.
Tonight I’ll be performing exclusively contemporary chamber music, works that show the breadth of the possibilities for chamber music with the guitar. Chamber music has become very important to me over the past six years. It can be a vulnerable thing to rely on others, and yet I think that the joy of collaboration and the connection with other people is worth it.
This recital also looks to what lies ahead. In performing the last work of the recital, Reeling, I look forward to my upcoming residency as a performer fellow at MASS MoCA for the Bang on a Can Summer Festival, and my plans to establish a contemporary chamber ensemble back in Perth, Western Australia.
Thank you for being here, and I hope you enjoy the music.
This recital is a celebration of the things I’ve been able to do and the opportunities I’ve had while studying my master’s: developing my collaborative practice, studying composition, playing electric guitar, and honing my approach to new music.
Tonight I’ll be performing exclusively contemporary chamber music, works that show the breadth of the possibilities for chamber music with the guitar. Chamber music has become very important to me over the past six years. It can be a vulnerable thing to rely on others, and yet I think that the joy of collaboration and the connection with other people is worth it.
This recital also looks to what lies ahead. In performing the last work of the recital, Reeling, I look forward to my upcoming residency as a performer fellow at MASS MoCA for the Bang on a Can Summer Festival, and my plans to establish a contemporary chamber ensemble back in Perth, Western Australia.
Thank you for being here, and I hope you enjoy the music.
Programme
running joke, Abbey Felton
Hana Flood, flute
Freya Edington, bassoon
Abbey Felton, classical guitar
The guitarist is not amused.
This work is dedicated to all the people I’d had running jokes with over the past two years- thank you for your patience!
Hana Flood, flute
Freya Edington, bassoon
Abbey Felton, classical guitar
The guitarist is not amused.
This work is dedicated to all the people I’d had running jokes with over the past two years- thank you for your patience!
Adjö, Kaija Saariaho (1952-2023)
Tamsin Baird, flute and piccolo
Eilidh Bisset, soprano and percussion
Abbey Felton, classical guitar
This early work by Saariaho is based on two poems from Easter Suite by Solveig von Schoultz (translation below by Jeremy Parsons), written for the poet’s 75th birthday. Listen for the swirling of unexpected colours and timbres, blurring the distinctions between performers and instruments, as we incorporate different extended techniques. The work takes the soprano on a journey of release and expansion, as Saariaho writes in the score: “Little by little the voice is...‘freed’ into singing”.
Tamsin Baird, flute and piccolo
Eilidh Bisset, soprano and percussion
Abbey Felton, classical guitar
This early work by Saariaho is based on two poems from Easter Suite by Solveig von Schoultz (translation below by Jeremy Parsons), written for the poet’s 75th birthday. Listen for the swirling of unexpected colours and timbres, blurring the distinctions between performers and instruments, as we incorporate different extended techniques. The work takes the soprano on a journey of release and expansion, as Saariaho writes in the score: “Little by little the voice is...‘freed’ into singing”.
How can you withstand it?
No gaze is so radiant and dark blue
and penetrates everywhere, into the snowdrifts
that sink rustling together, into the ice
that stands with red pools, and into the heart
where snow holds its ground
how can you withstand it?
The lower the sun
the bluer the ice, sharper blue like a sword
the redder the alder’s catkins
the harder the birch trees’ buds in the sauna smoke
the buckthorn staples steel to stone
but the snow burns like fresh fire.
No gaze is so radiant and dark blue
and penetrates everywhere, into the snowdrifts
that sink rustling together, into the ice
that stands with red pools, and into the heart
where snow holds its ground
how can you withstand it?
The lower the sun
the bluer the ice, sharper blue like a sword
the redder the alder’s catkins
the harder the birch trees’ buds in the sauna smoke
the buckthorn staples steel to stone
but the snow burns like fresh fire.
In Amber, Phillip Houghton (1954-2017)
i. Dance
ii. Dream
iii. Initiation
Abbey Felton, classical guitar
Lee Young, violin I
Claudia Edwards, violin II
Eldon Bradfield, viola
Sarah Kegerreis, cello
In composing this work, Houghton was inspired by an amber pendant given to him by jeweller Tim Benson, the image of “rocks and pebbles on the bed of a river, sparkling through layers of rippling texture and light”, music from a previous work he’d written, and “actual music” he heard in a dream! Houghton’s music is special to me, as it is some of the first music I played as a highschooler which grew my love for the guitar.
i. Dance
ii. Dream
iii. Initiation
Abbey Felton, classical guitar
Lee Young, violin I
Claudia Edwards, violin II
Eldon Bradfield, viola
Sarah Kegerreis, cello
In composing this work, Houghton was inspired by an amber pendant given to him by jeweller Tim Benson, the image of “rocks and pebbles on the bed of a river, sparkling through layers of rippling texture and light”, music from a previous work he’d written, and “actual music” he heard in a dream! Houghton’s music is special to me, as it is some of the first music I played as a highschooler which grew my love for the guitar.
Rain, Anna Thorvaldsdottir (1977)
Tamsin Baird, flute and bass flute
Eilidh Bisset, soprano
Abbey Felton, classical guitar
Anna Thorvaldsdottir has been described as “creat(ing) small worlds for the ear to inhabit, rather than musical narratives for an audience to follow.” The guitar, flute, and soprano soar, patter, flutter, and trickle against the pulsating life in the tape part. At the end of the work, the soprano finally sings a full line: ‘Every drop becomes a river’
Close your eyes and let the sounds wash over you.
Tamsin Baird, flute and bass flute
Eilidh Bisset, soprano
Abbey Felton, classical guitar
Anna Thorvaldsdottir has been described as “creat(ing) small worlds for the ear to inhabit, rather than musical narratives for an audience to follow.” The guitar, flute, and soprano soar, patter, flutter, and trickle against the pulsating life in the tape part. At the end of the work, the soprano finally sings a full line: ‘Every drop becomes a river’
Close your eyes and let the sounds wash over you.
the rain falls on us all, Abbey Felton
Abbey Felton, electric guitar
Lee Young, violin
Rosy Lewcun, cello
I was walking through Kelvingrove Park in autumn last year.
I stopped. All around me I could hear the little percussive ‘slaps’ of water droplets landing on fallen leaves. I decided I had to come back with a field recorder and capture the sound! The sonic material used in the electronic part is taken exclusively from one of these rain recordings, with the main pitch material derived from a spectrogram of the recording.
Rain is a blessing (even if we get a lot of it in Scotland!). We have absolutely no control over it, and yet it comes at the right time to allow us to live and flourish.
As a Christian, I believe that all of us experience goodness and blessing in this life from God regardless of who we are and what we’ve done. It’s a beautiful and humbling thing. The sun shines, the wind blows, and the rain falls on us all.
Abbey Felton, electric guitar
Lee Young, violin
Rosy Lewcun, cello
I was walking through Kelvingrove Park in autumn last year.
I stopped. All around me I could hear the little percussive ‘slaps’ of water droplets landing on fallen leaves. I decided I had to come back with a field recorder and capture the sound! The sonic material used in the electronic part is taken exclusively from one of these rain recordings, with the main pitch material derived from a spectrogram of the recording.
Rain is a blessing (even if we get a lot of it in Scotland!). We have absolutely no control over it, and yet it comes at the right time to allow us to live and flourish.
As a Christian, I believe that all of us experience goodness and blessing in this life from God regardless of who we are and what we’ve done. It’s a beautiful and humbling thing. The sun shines, the wind blows, and the rain falls on us all.
Reeling, Julia Wolfe (1958)
Maria Ludkin-Finnie, clarinet
Michael Gemmell, piano
Abbey Felton, electric guitar
Noah Chalamanda, drum kit
Tess Anderson, cello
Paul Muniz Barreto, double bass
Reeling is based on a field recording of a French Canadian man singing. This work makes me unreasonably happy, and I hope its wonderful, joyous cacophony can make you happy too.
Maria Ludkin-Finnie, clarinet
Michael Gemmell, piano
Abbey Felton, electric guitar
Noah Chalamanda, drum kit
Tess Anderson, cello
Paul Muniz Barreto, double bass
Reeling is based on a field recording of a French Canadian man singing. This work makes me unreasonably happy, and I hope its wonderful, joyous cacophony can make you happy too.
Thanks
Professor Allan Neave and Matthew McAllister, for encouraging and supporting me to pursue with all excellence the music that gives me joy.
Ailie Robertson, for helping me to grow as a composer.
Red Note Ensemble, for selecting and performing running joke in their February 2026 Noisy Nights programme.
Lee Young, for asking me to write the rain falls on us all for the wonderful Shot Silk (@shot.silkk) concert series.
Shona Coghill (@wilderkinstudio), for the amazing photos and graphic design of the poster and social media content.
Tonight’s performers- Freya, Hana, Eilidh, Tamsin, Lee, Claudia, Eldon, Sarah, Rosy, Maria, Michael, Noah, Tess, and Paul. This wouldn’t have been possible without you. In particular, thank you Lee (again!), Rosy, Hana, and Freyafor your generosity of time and spirit, and being willing to try new things in the rehearsal space.
Ben Lewis, for your great help on the sound.
Azariah Felton, for always being here.
Finally, to God, from whom all creativity and blessings flow. Thank you for opening up the door to my studies, for the people you’ve brought into my life here in Glasgow, and for the inestimable blessing of Jesus.
Ailie Robertson, for helping me to grow as a composer.
Red Note Ensemble, for selecting and performing running joke in their February 2026 Noisy Nights programme.
Lee Young, for asking me to write the rain falls on us all for the wonderful Shot Silk (@shot.silkk) concert series.
Shona Coghill (@wilderkinstudio), for the amazing photos and graphic design of the poster and social media content.
Tonight’s performers- Freya, Hana, Eilidh, Tamsin, Lee, Claudia, Eldon, Sarah, Rosy, Maria, Michael, Noah, Tess, and Paul. This wouldn’t have been possible without you. In particular, thank you Lee (again!), Rosy, Hana, and Freyafor your generosity of time and spirit, and being willing to try new things in the rehearsal space.
Ben Lewis, for your great help on the sound.
Azariah Felton, for always being here.
Finally, to God, from whom all creativity and blessings flow. Thank you for opening up the door to my studies, for the people you’ve brought into my life here in Glasgow, and for the inestimable blessing of Jesus.
