Mandala 3. Recording of music by David Lumsdaine & Nicola LeFanu.
- Submitting institution
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Trinity Laban Conservatoire of Music and Dance
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- Szram1
- Type
- Q - Digital or visual media
- Publisher
- Metier
- Month
- February
- Year
- 2017
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This is the first recording of Mandala 3, one of Lumsdaine’s most important works, which extends his earlier piano solo composition Ruhe sanfte, sanfte ruh’ into a substantial concertante work. Recorded with Gemini, this output builds on previous collaborations between Gemini and Lumsdaine. This research locates itself in relation to recordings by Smalley and Lawson of Lumsdaine’s other solo repertoire, and provides, for the first time, a realisation of the detailed studies on Lumsdaine’s music by Hall (Arc Publications, 2003), Hooper (Ashgate, 2012) and LeFanu (davidlumsdaine.org.uk). Mandala 3 explores the harmonic partials created by the resonances of the Imperial Bösendorfer grand piano, in particular those created by the additional low A-flat available on this instrument. Hooper, in particular, has explored the importance of the Bösendorfer resonance and the low A-flat to an authentic realisation of Lumsdaine’s vision, inspired by the bells of Durham Cathedral, and the significance of this piece to Lumsdaine’s oeuvre. This research realises Lumsdaine’s requirements for the first time, through an exploration of the nuances provided by this instrument to produce specific voicings and pedal resonances. Rigorous analysis of facsimile sources, printed editions and private rehearsal tapes of (first performer) Ronald Lumsden’s interpretations supported the creation of this research, providing a significant enhancement of musical knowledge that has hitherto only been discussed in the abstract (Hooper, 2012) without audio examples. This research provides important insights for composers and performers interested in Lumsdaine, and has been disseminated at York University (2015), Australian National Academy of Music in Melbourne (2016) and the Royal Academy of Music (2017). The project was supported by the RVW trust. This output pursues Szram’s research imperative to provide composer-supervised interpretations of hitherto unrecorded works, and emerged from a lengthy process of collaboration with both Lumsdaine and his wife, the composer Nicola LeFanu.
- Author contribution statement
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- Non-English
- No
- English abstract
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