Oboe, Bass Clarinet, Percussion and Computer.
The score, parts for performance and software are available from sumtone.com | http://sumtone.com/work.php?workid=193
written for New Noise London in March 2008.
Purcell Rooms, London
The Bluecoat, Liverpool
Djanogly Recital Hall, Nottingham
Reviews of Grab
…Grab, by Martin Parker, was the highpoint. Scored for oboe, bass clarinet, percussion and computer, the trio effectively became a sextet, with the computer semi-randomly sampling and manipulating each instrumentalist’s contribution to create another three voices… producing some disturbing dialogue reminiscent of passages from Berio’s Visage. The work gave the flesh-and-blood performers a chance to shine – Burgess in particular let his hair down with some excellent solos – a highly effective and enjoyable piece performed with considerable flair.
David Bignell, Classical Source, May 2008
Martin Parker’s Grab employs a live computer-generated shadow of the oboe, bass clarinet and percussion trio, which is triggered by the on-stage performers, growing Hydra-like until it threatens to utterly overwhelm them. This simple arc is made much more interesting by the complexity of the live music the performers are required to play, even as the rich details of their efforts are obliterated by the computer. The drama was in the palpable sense of waste and futility as performing skill and commitment was digitised and then redeployed against itself.’
Tim Rutherford-Johnson, Musical Pointers, May 2008
Martin Parker’s Grab, receiving its world premiere this evening, was one of the highlights of the concert. With an exciting interplay between the live elements and electronics, the bass clarinet provided a lovely timbral variety to the oboe sound and the two complimented each other very well.
The percussion held all the disparate elements together and served as the main driving force for the work. This was an exciting and dramatic work, which was given a highly convincing first performance. I have no doubt that this will become a part of the core repertoire for this combination of instruments, and I look forward to hearing more from Parker in the future.
Carla Rees, Seen and Heard, May 2008
Accompanied by maracas, Steve Reich’s Four Organs took a dominant chord on an epic sleigh-ride. Kreuzspiel, for oboe, bass clarinet, piano and percussion, reflected Karl-Heinz Stockhausen at the start of his maverick career. Thanks to computer resources, a trio became a dramatic sextet in Martin Parker’s Grab, the evening’s other new work. Electronics helped to conjure the muted sounds of Pedro Gomez Egana’s recent Clark Nova, as well as the magic of Dennehy’s exploits in overtones.’
Peter Palmer, Nottingham Evening Post, May 2008