Night Flight

Orchestra

2012
12 minutes
Commissioned by Welsh Sinfonia. First performed 22/03/12 at Dora Stoutzker Hall, RWCMD, Cardiff by Welsh Sinfonia conducted by Mark Eager.
The piece incorporates sections by three student composers from the Royal Welsh College of Music & Drama.

***** "Hardy explored the changing textural dynamics of the ensemble, whilst cleverly showcasing the individual skill of its members: a rare treat compared to more traditional orchestral repertoire... a fantastic concept that proved to be the highlight of the evening."
Jessica Ruth Morris, Western Mail

Night Flight is an innovative work which incorporates contributions from three student composers at the Royal Welsh College of Music & Drama, where John is Head of Contemporary Music Composition and Creative Music Technology.

Each composer explored their idea related to ‘night flight’, for example whilst second-year undergraduate Christopher Bond’s music is a ‘reflection of a tragic event’, fourth-year Welsh undergraduate Benjamin Vaughan wrote a piece about ‘a man who seeks to forget his past life as he begins his journey to a new world.’

John’s own music wraps around the three student pieces, providing a framework with starting and ending sections and musical ‘pillars’ between each student response.

The project involved extended workshop time with the orchestra for students to experiment and test ideas, such as bowing techniques for string players.

Postgraduate student Spyros Syrmos commented that ‘the project was a great experience… working with the Welsh Sinfonia in a such professional and friendly environment.’

Night Flight was first performed by the Welsh Sinfonia conducted by Mark Eager on 22nd March 2012 at the Dora Stoutzker Hall, Royal Welsh College of Music & Drama, Cardiff.

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Mis Du Bach / Black February

Opera: Treble, soprano, mezzo-soprano, tenor and bass-baritone soloists, SATB Chorus and ensemble
1997
90 minutes
Commissioned by Welsh National Opera and the Last Invasion Bi-centenary. First performed 1997 by Welsh National Opera and Fishguard community.

“Community opera projects… at their best – and this is one of the best I have ever seen - …can pull together entire communities in a creative process that both enriches and celebrates the innate skills and talents of the community involved.”
Michael Parkin, Western Mail

“A wonderful community effort involving all sorts of people who have never done anything like it before.”
Mike Woakes, Fishguard Bicentenary spokesman, 29 October 9

Black February / Mis Bach Du was commissioned by the Welsh National Opera and produced with and by the people of Fishguard, a beautiful town on the coast of Pembrokeshire, South West Wales. It told the story of the last invasion of Britain, in 1797, by a motley force of French convicts led by Irish and American officers, who were eventually persuaded to surrender before much blood was spilt.

The piece was created during a year in collaboration with WNO and the people of the surrounding areas, including many school-aged participants. It is scored for a mix of amateur and professional musicians including brass band, with all the vocal roles sung by non-professionals.

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Fol-de-Riddles

4 violins or 2 violins, viola, cello and bass
4 minutes
Commissioned by the first Red Violin Festival. First performed 1997 at National Museum Cardiff by the Madeleine Mitchell ensemble. 

A driving and dramatic piece for 4 violins, commissioned by the first Red Violin Festival for the grand opening ceremony at the marble and granite National Museum of Wales, Cardiff, and repeated a few days later at St David’s Hall, Cardiff.

Fol-de-Riddles was first performed by the Madeleine Mitchell ensemble and broadcast on BBC Radio 3 in 1998.

An arrangement for two violins, viola, cello and double bass has been made by the composer.

“Pride of place went to the premiere of a [Red Violin] Festival commission, Fol de Riddles, a fanfare for four violins by Wales-based composer John Hardy… [in] this brief, striking work… the opening section set the first violinist against the others in dramatic, declamatory fashion; the second section, fast and exciting, involved all four in a riveting ensemble.”
Robin Stowell, The Strad, October 1998

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