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Helen Grime

Publisher: Chester Music

Two Eardley Pictures: II. Snow (2016)
Commissioned by the National Youth Orchestra of Scotland and first performed by them, conducted by Ilan Volkov, at the BBC Proms on 7 August 2016
Work Notes
Winner of the prize for Large-scale Composition at the Scottish Awards for New Music 2017
Publisher
Chester Music Ltd
Category
Orchestra
Sub Category
Large Orchestra
Year Composed
2016
Duration
8 Minutes
Programme Note
Helen Grime Two Eardley Pictures: II. Snow (2016)
Preview the score



Performances
Reviews
The program’s opener was an atmospheric new work by Scottish composer Helen Grime (“Snow,” from “Two Eardley Pictures”); in Dausgaard’s brief spoken remarks, he noted that “the ink is hardly dry on the page.” This “Snow,” heard here in its American premiere, presents broad, expansive lines for the bass instruments, with sudden upward “snow flurries” of arpeggios for more treble instruments. There is little of the painting’s stillness in the busy, well-crafted score, which sounds both mysterious and ominous.
Melinda Bargreen, The Seattle Times,09/06/2017
…[Snow] is haunting as it winds down towards its dusky close.
David Allison, The Telegraph,20/08/2016
[Grime] has as precise an ear as any contemporary composer I can think of, and the two scores’ play of texture offered the combined pleasures of a crowded canvas and a rare vertical translucency.... Snow proved appropriately swirling, an intricate scherzo devolving into folk-song melody and melancholy but without losing sight of the agitation and dazzle.
Paul Driver, The Sunday Times,14/08/2016
[The performance] opened with the premiere of Snow,, the second of Helen Grime’s Two Eardley Pictures, the textures grave and cleanly etched.
Anna Picard, The Times,09/08/2016
...the second of a pair of works inspired by the painter Joan Eardley, and in particular her landscapes of north-east Scotland, where Grime was also brought up. [Snow] takes as its starting point The Scranky Black Farmer, a traditional song from the same region, heard at the outset on the clarinets, then shuttled from instrument to instrument in a series of variations, which in turn form the effective landscape across which scurrying figurations and slowly shifting string chords suggest the flurries and drifts of snow. It’s attractively scored, allowing the NYOS woodwind to shine and bringing out the poised clarity of the strings.
Tim Ashley, The Guardian,08/08/2016
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