Mark Wolf is an Australian composer undertaking his PhD at the Queensland Conservatorium, Griffith University.
A Succession of Madness. Mark Wolf. Score for chamber orchestra. From the composer: “A Succession of Madness is derivative of a Voltaire quote on mood disorders, in particular bipolar. The work depicts changes of mood typical of a sufferer of bipolar disorder. Contrasts between anxious urgency and lucid calmness coupled with the use of shifting time signatures resulting in an episodic piece”.[purchase_link id=”2447″ style=”button” color=”red” text=”Add to Cart”]Under An Australian Sun. Mark Wolf, 2009. Score for solo piano. Premiered at the Royal College of Music ‘Piano Shorts’ concert in 2010. From the composer: “This piano miniature was composed only using four individual pitches, which encompass the whole range of the piano keyboard. In the opening bars the pitches are first heard in their closet, ‘cluster’ like form and at the end they are presented in their widest possible mode. The ‘Australian’ sun was clearly the source of inspiration”.[purchase_link id=”2444″ style=”button” color=”red” text=”Add to Cart”]Bagatelle Aquarelle. Mark Wolf, 2012. Score for solo harpsichord. From the composer: “Bagatelle Aquarelle is a short harpsichord work drawing inspiration from painting with watercolours. In particular, the aquarelle technique. Aquarelle paint is transparent, lighter shades are achieved by thinning the paint with more water. Aquarelles often have a fresh and spontaneous look”.[purchase_link id=”2441″ style=”button” color=”red” text=”Add to Cart”]Hype. Mark Wolf, 2012. Score for guitar and harpsichord. Premiered at Handel House, London 2010 by Jane Chapman and Sam Cave. From the composer: “Particularly scored for guitar and harpsichord duo drawing inspiration from their common sound production technique, the plucked string. Each of the three movements explores varying degrees of attack and length of sustain, heightening the anticipation of the short, plucked sound”.[purchase_link id=”2438″ style=”button” color=”red” text=”Add to Cart”]
Unquiet Sun. Mark Wolf, 2010. Score for solo piano. From the composer: “A contributing factor in the development of Unquiet Sun is the inspiration drawn from the music of Morton Feldman. In particular his solo piano work Palais de Mari. I wanted to attempt to write a piece which uses very little material but which can sustain the listener over a period of time, and which had a similar ‘meditative’ effect. The structural foundation for Unquiet Sun is a large scale mirrored arc which depicts the daily cycle of the sun. Unquiet Sun is my sonic interpretation of what the sun may perhaps sound like”.[purchase_link id=”2435″ style=”button” color=”red” text=”Add to Cart”]Praxis. Mark Wolf, 2010. Score for clarinet and piano. Premiered and commissioned by Ona Cardona at St Martin-In-The-Fields, 2010. From the composer: “The clash of frustration and creativity is the subject of this work. Praxis embodies both elements, frustration and creativity as roles assumed individually by both the clarinet and piano. At times both parts come together, borrowing elements from one another only fuelling the struggle”.[purchase_link id=”2432″ style=”button” color=”red” text=”Add to Cart”]Umbra-Penumbra-Antumbra. Mark Wolf, 2010. Score for solo vibraphone. Premiered at the 2010 Creative Original Music Adelaide. From the composer: “The umbra, penumbra and antumbra are the names given to three distinct parts of a shadow, created by any light source. In the case of this piece, the light source is the sun and the occluding body is planet Earth as observed from the moon. The work makes use of the entire vibraphone range to characterise the three forms of shadow and the movement from one shadow region into another”.[purchase_link id=”2429″ style=”button” color=”red” text=”Add to Cart”]Hamarøy Troll. Mark Wolf, 2010. Score for solo flute. Composed for Norwegian flautist and friend Guro Petterson. From the composer: “I came up with the concept for Hamarøy Troll when I stumbled across an image of a rock formation amidst a waterfall from Hamarøy, Norway, commonly known as the Troll in Hamarøy. In Norwegian folklore, trolls are perceived as grotesque subhuman characters portrayed in fairy-tales such as Three Billy Goats Gruff. In the image, the troll-like rock formation is completely surrounded by natural beauty. This piece plays on…the concept of the oxymoron ’pretty ugly'”.[purchase_link id=”2426″ style=”button” color=”red” text=”Add to Cart”]
String Quartet No. 2 ‘The Flying Roof’. Mark Wolf, 2014. Score for string quartet. From the composer: “The Flying Roof looks at the relationship between music and architecture. This string quartet is a musical interpretation of the five sectional drawings which make up the architectural design for the Busan Cinema Centre in South Korea”.[purchase_link id=”2423″ style=”button” color=”red” text=”Add to Cart”]Go! Mark Wolf, 2014. Score for soprano and percussion. Commissioned by the soundSCAPE Composition and Performance Exchange, premiered at the festival in Maccagno, 2014. From the composer: “Go! is a musical interpretation of the Xenakis-designed window panes on the west façade of La Tourette Monastery. The spacing and proportions of the window frames provided a visual representation, which was translated into a formal compositional structure. Go! pays homage to the Brutalist [architectural] movement, casting a light on its innate beauty”.[purchase_link id=”2409″ style=”button” color=”red” text=”Add to Cart”]