‘An impressively sustained study in cumulative energies.’   The Times


1(=picc+afl).0.1(=bcl).1 - 1000 - perc(1): crot/mar/whip/BD+ped/2 tgl/5 tpl.bl/susp.cym/t.bells/vib/woodchimes - harp - vln.vla.vlc.db


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Programme Notes

This piece consists of many smaller pieces strung together to form a continuous whole, rather like a series of disparate objects hung together along a piece of string. The pieces are scored for a wide variety of different groups within the basic ensemble - solos, duos, trios, etc. - and are sometimes presented simultaneously with each other. They each share an overall tendency towards an increase in tension and speed, and thus the whole work forms a gradual accumulation of energy which corresponds to the title (meaning, literally, ‘drag-me-up). The pieces share many harmonic and melodic features as well: the whole piece is, in fact, dominated by pitches from a harmonic spectrum on a low G. In the calmer coda, this is absorbed into a still lower C-spectrum in which fragments from the whole work are drawn together into a lyrical, folk-like cantilena. Tiramisu was composed in 1994 and revised the following year. It was written for the Cambridge New Music Players who gave the first performance at the ICA in London. The piece is dedicated to Adrian Jack.

Julian Anderson


‘An impressively sustained study in cumulative energies… Nona Liddell’s able playing of the soloistic violin part began, unconventionally, even before the conductor had opened his score.’
The Times (Barry Millington), 14 February 1994

‘The handling of the concertante groupings and the steady accumulation of energy was strikingly assured.’
The Independent (Stephen Johnson), 14 February 1994

Tiramisu combined rhythmic excitement and vibrant instrumental colour in almost Stravinskian mode.’
Ham & High (A.D.), 18 February 1994



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