Rupture Series

inspired by the disruptive organic wall of sound when thunder/storms occur and how the sound versus visual delay plays with our perception of time and distance.

"the dew is falling on your head,
can you feel it
can you see me fall apart"

Rupture I

for Tonnta Vocal Ensemble
features 6 voice pairings (each pair facing one another) and a pre-recorded track of whispers/violin/chord clusters and electronics

18.03.2016 Tonnta Vocal Ensemble, RARITY, Natural History Museum, Dublin (Premiere)

Rupture II

written for mezzo-soprano and baritone

20.03.2016 Tonnta Vocal Ensemble, FUTURE COMPOSERS, The Chocolate Factory, Dublin (Premiere)
03.05.2017 Tonnta Vocal Ensemble, Kaleidoscope Night, Bello Bar, Dublin

Rupture III

written for soprano and FX

26.09.2018 Elizabeth Hilliard, For The Voice by the Irish Composers Collective, Bello Bar, Dublin (Premiere)

Rupture IV

written for violin, voice and tape
(this piece uses the score of Rupture III as a guide)

01.02.2019 Éna Brennan, Exploring Electronics by the Irish Composers Collective, Irish Georgian Society, Dublin (Premiere)

Rupture V

written for upper voices

17.10.2019 Dulciana, Dowry headline show, Pepper Canister Church, Dublin (Premiere)

Rupture (micro-opera)

written for soprano, mezzo, vibraphone and string ensemble
commissioned by Irish National Opera

17.12.2020 Online launch (Premiere)

The series was initially inspired by the organic wall of sound & disruptions in thunder/storms and how the sound versus visual delay plays with our perception of time and distance. This then developed into the exploration of conflict, dichotomy, rupture within the human body and mind - the voice being the primary vehicle for this rupture to take place.

Rupture I, originally commissioned by Tonnta Vocal Ensemble, was written for mixed voices and tape. It is a dialogue between three pairs of singers, unable to hear/see/understand each other despite standing face to face.

Rupture II, for soprano and baritone is a condensed variation where the two singers are unable to hear/see/understand each other despite standing face to face.

Rupture III is for solo soprano and FX where I treat the breakdown of a distant conversation with oneself - the amplified, looped and affected voice symbolising our many voices and inner thoughts.

These inner thoughts become a tape part for Rupture IV alongside the use of violin and electronics. Rupture V is a piece for our many voices, written for upper voices choir Dulciana.

The last piece of the series at present is Rupture VI, a filmed micro-opera commissioned by Irish National Opera, due to be released 17th December 2020. This edition is the development of the theme into a fuller dramatic narrative for soprano and mezzo portraying a woman and her conscience, accompanied by vibraphone and string ensemble.

Rupture VII is in development, for strings, vibraphone and upper voices. The piece was the winning entry for the Sounding the Feminists and National Concert Hall Established Composer grant.

Scores

Rupture Series

inspired by the disruptive organic wall of sound when thunder/storms occur and how the sound versus visual delay plays with our perception of time and distance.

Rupture I

Rupture II

Rupture III

Rupture IV

Rupture V

Rupture (micro-opera)

Rupture I, originally commissioned by Tonnta Vocal Ensemble, was written for mixed voices and tape. It is a dialogue between three pairs of singers, unable to hear/see/understand each other despite standing face to face.

Rupture II, for soprano and baritone is a condensed variation where the two singers are unable to hear/see/understand each other despite standing face to face.

Rupture III is for solo soprano and FX where I treat the breakdown of a distant conversation with oneself - the amplified, looped and affected voice symbolising our many voices and inner thoughts.

These inner thoughts become a tape part for Rupture IV alongside the use of violin and electronics. Rupture V is a piece for our many voices, written for upper voices choir Dulciana.

Rupture VII is in development, for strings, vibraphone and upper voices. The piece was the winning entry for the Sounding the Feminists and National Concert Hall Established Composer grant.

Scores

Recordings