Gloria Coates-Stolen identity 

An introduction to an unique sound world of string writing-recorded in rehearsal in Munich:

1.Percussion-fingers on the tailpiece(viola) & instrument body(cello)

Morgan Goff and Neil Heyde playing the distinctive percussion effects from Gloria's quartet writing. Munich April 26th 2012

2. Microtonal chords under slow glissando

3. Contrary motion 4 part glissandi over narrow intervals in augmentatino

25th-26th April Carl-Orff Zentrum, Munich

The first day of work on Gloria’s new stage piece-with dear friends from here in Munich and London.

Gloria, Stefan Blum (Percussion), Nic Clapton, April Fredrick, Gary Martin (Singers), and the Kreutzers

Two great colleagues, Stefan Blum, wonder-percussionist with Gloria Coates. 25th April 2012

Wonderful to come together to work On Gloria Coates’s visionary new stage piece for 3 singers, percussion, piano and quartet. This is a completely original sounding piece, and we are all discussing what it means, what it is-even the composer herself. Gloria is very open about how much of it is the product of her dreams, of her reaction to very personal events-visions in illness, for instance, or the quiestion of what is, and who owns, the composer’s voice.

Two composers in thought. Gloria and Mihailo in Munich

A turning point in the drama is the aria Sperriges Morgen, for percussion, cello and soprano-here is April in rhapsodic form, with Neil Heyde and Stefan Blum

Working with Gloria Coates-Mihailo Trandafilovski with Soprano April Fredrick. Carl-Orff Zentrum, Munich. 25th April.

Hard at work on Gloria Coates's 'Stolen Identity' 25th April Carl-Orff Zentrum

Workshop Extract-the wonder of Coates’s language in full flood!

The great thing about a team of great friends like this, is that rehearsal is about the joy of music making. Things can, and should get silly in rehearsal. Here is an example-the injustice of setting string instrument percussion against the real thing-and the resulting outburst