It was during his time at the college that he met many of
the performers with whom he still works, notably Russian pianist Sergei
Podobedov www.sergeipodobedov.com ,
violinist Yuri Kalnits www.yurikalnits.com/home.html
and pianists Rossitza Stoycheva www.londonmarketsystems.com/RossitzaStoycheva
and Mikako Hori. David Braid spent a
year at the Cracow Academy of Music studying composition with the late Marek
Stachowski http://marekstachowski.pl and
a second year of private study with Zbigneiw Bujarksi. During his two years in
Cracow he wrote a Violin Concerto and a work for chamber orchestra, Cause and Reaction (both since withdrawn
for revision). David later undertook further composition study, with Robert
Saxton www.ricordi.de/saxton-robert.0.html?&L=1
at Oxford University.
His work has been performed not only in the UK but in the
USA, Germany, Poland, Russia, Denmark, Sweden and South America. Recently, the
string orchestra version of his setting of Pablo Neruda’s poem Mañana,
‘Morning’ was premiered in Moscow. The original version, for soprano and string
quartet received its UK premiere at the Wigmore Hall sung by Grace Davidson. ‘Morning’
was also broadcast on Australian radio in 2011. As well as concert music, David
Braid has written a number of film scores.
He has received numerous awards and scholarships including
The John Longmire Prize for Composition, Royal College of Music; The Jack
Morrison Prize for Guitar, RCM; The Composition Prize for Youth Orchestra,
Murcia, Spain; The Fine Arts Sinfonia Composition Prize (London); The Waterson
Scholarship, University of Oxford; the Oppenheim/Downes Memorial Scholarship;
The University Graduate Scholarship, University of Oxford and SPNM Short-listed
composer 2001, among others. Composers that have influenced his work are Sibelius,
Lutoslawski, Brian Ferneyhough and Per Norgard.
A recording by Toccata Classics features chamber music and
instrumental music by David Braid performed by some of those musicians that he
first met at the RCM.
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Morning for soprano and string quartet Op.3 was written in 2006 and is a setting of the Chilean poet Pablo Neruda’s (1904-1973) ‘Mañana’. It was given its first performance by Grace Davidson www.gracedavidsonsoprano.com . As the sound of the shimmering strings slowly enter, Braid immediately conjures up a distinctive sound world, yet when the soprano enters and totally blends with the strings, the atmosphere becomes even more striking with her vibrato less voice. And what a fine voice Grace Davidson has. This setting, based on a falling two note motif, is spellbindingly beautiful and is varied by the quartet’s differing textures and rhythms, the cello in particular giving a rhythmic pulse. Between verses three and four there is an interlude for quartet, a lovely atmospheric dreamscape. The long drawn vocal phrases set the music very well.
David Braid’s Three
Pieces for solo piano Op.8, written in 2008 for pianist Sergei Podobedov,
who performs them here, opens with a Lyrical
Toccata, with a single note in one hand set against a faster motif in the
other. Making use of a simple system of ratios, the faster theme increases in
the number of notes played against the single note until returning to a single
note itself, creating a remarkably intricate piece. Aria is a halting little piece, songful yet reserved and Three Part Invention is a simple yet
affecting piece with the three parts used to create some attractive musical
lines.
Written in 2010 for the performers on this recording, Yuri
Kalnits and Sergei Podobedov, Invention
for Violin and Piano Op.11 opens with a rising phrase for piano before the
violin enters. As the violin develops the material there are Messiaen like
intervals and phrases with the instruments sharing and alternating the themes. The
two performers are excellent but unfortunately the poor acoustic gives the
violin something of an edge. Nevertheless this is a thoroughly enjoyable work.
Composed in 2011 for the Erato Piano Trio www.eratopianotrio.com and clarinettist Peter Cigleris www.petercigleris.com , Sonata for Quartet Op.13 opens quietly
on the strings with lovely shimmering sounds, the clarinet playing quietly in
the background with the piano picking out the tune. Soon the piano develops
more flow, with the strings then joined by the clarinet. Braid uses the
instruments nicely by sharing out the musical argument amongst them so that they
enter and leave providing a seamless flow as they overlap. As the work
progresses the textures become richer and more layered, in this cleverly
constructed music. There is a beautiful passage for clarinet and piano, a
passage for solo violin, then piano slowly combining with the clarinet. Towards
the end there is an extended solo piano passage before the clarinet and
strings enter, playing a little theme that speeds up before being suddenly cut
off.
Infinite Reminiscence
for Two Pianos Op.4 was written in 2009 for the piano duo of Rossitza
Stoycheva and Mikako Hori www.youtube.com/watch?v=dZJGXnc2MVw
who perform the work in this recording. A
lightly picked out theme for one piano is slowly joined by the second piano providing
a sonorous bass layer. This is an extremely attractive little piece, full of
atmosphere and so delicately written for the two pianists. The two pianists come
together as the music progresses, the music becoming clearer and less diffuse
before ending quietly.
David Braid drew on an idea from a book called A perfect Vacuum, which consisted of
reviews of non-existent books, to write Music
for dancers for Piano Trio Op.9 a work for non-existent dancers. The work was written for the Erato Piano
Trio in 2009, and it is they who perform it here. The violin opens the work before
being joined by the cello, then piano, in this rather more astringent and
tonally free section. Soon the music becomes more harmonious but the solo piano
soon returns to the opening sound. The strings join as the music increases in
tempo and emotion. Eventually the music slows until there is just the piano. The
strings again slowly enter in a slightly wistful theme. The violin eventually
takes the lead over pizzicato cello and piano to quietly end this lovely work,
full of unusual charm and invention.
The short Postlude
for solo piano Op.10 was written for the performer here, Jelena Laković http://nlcolourstrings.co.uk/jelena_lakovic.html
in 2010. Although recorded in the same
venue as the Invention for Violin and Piano,
the acoustic seems to suit the piano far better. Postlude opens with a three
note motif that slowly becomes more focused as it progresses. The theme is
slowly worked out in varying ways, the opening notes returning before a further
working out of the theme in ways that become quite decorative and distanced
from the original theme. This is an attractive work, sounding somewhat like an
improvisation.
I am really glad to have heard these attractive works and
hope to hear more from this fascinating composer. The performers are first rate
and the recordings, made at a number of locations, are generally excellent. There
are first rate booklet notes from the composer.
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