Perseus is the result of Charlotte’s time spent as Composer in Residence at the Hatfield House Chamber Music Festival. Perseus is a black hole, deep in space, and Charlotte conjures up a cosmic atmosphere that creates a remarkable feeling of otherworldliness. Charlotte even uses Tecchler’s name within the music, and I wonder if the three-note rhythmic motif was a subconscious response to the 300th anniversary.

Here's what Charlotte has to say:

I decided to take the cello maker’s name, David Tecchler, and translate the letters into a musical language to form the harmonic backbone of the work. The first section after the introduction, for example, follows the letters of his name: D-A-v-i-D t-E-C-C-H(B)-l-E-r.

The work also takes inspiration from the phenomenon known as a ‘supermassive black hole’. Captivating images have recently revealed that the black hole in the centre of the Perseus galaxy, a constellation in the northern hemisphere, dominates everything around it by propelling an extraordinary amount of radiation and energy out into the surrounding gas. The strange paradox is that an explosive black hole is the brightest source of life in the galaxy: greedy and luminous. I am fascinated and motivated creatively by this unseen and unknowable force.

Exploring various imaginary states, this abstract source found its way into the piece. The introduction contains three contrasting short musical kernels, each of which are explored and expanded-upon in the main body of the piece. The cello line is underpinned by a low piano drone and, in the second and third phrases, a high accented chord. This flows into a delicate section, sparsely written, as if the notes are distant stars in the galaxy far away. Growing out of this is a new section ‘White Heat, Luminous’. An intense rhythmic and repetitive bass line thunders away, punctuated by high stabbing clusters. The sustained glowing cello line leads to fast outbursts. A high cello melody sings throughout the third section, the lyrical centre of the piece. It feels intense and gritty above the powerful chordal piano accompaniment. The fourth and final section is deeply calm, a slow reflective end to the piece.

from notes by Guy Johnston © 2017