Lauren Redhead

My name is Lauren Redhead and I am a composer from the UK.
I am interested in new music and new aesthetics.

Works

Some of my scores are published by Material Press from whom copies can be purchased.

This is a list of pieces. If you would like more information about any of them, please contact me. To hear audio, please click the ‘Music’ tab.

Selected works

2018

phosphorescent [string instrument and fixed media, with or without organ]

humata, hukhta, huvarshta [duet for tenor recorder and viola da gamba, or solos for tenor recorder and viola da gamba]

ore [piano]

12 fragments for transverse flute [any flute]

the octopus [soprano and piano].

séo níedhæmestre; se tidfara [chamber organ and electronics; open instrumentation: 10’ or open duration]

2017

ingenga [viola da gamba; open instrumentation: open duration]

a common method: quartz [SSAATTBB: 7’].
a common method: rock salt [SSAATTBB: 5’].

the carp flop song cycle [4 voices, easy S or T: 45’]

2016

for Luc Brewaeys for Ian Pace [piano: 9’]
Commissioned by TRANSIT Festival.

anglo saxon triptych [graphic score materials]

glíwmæden [organ and electronics/graphic notation: open duration]

léoþcwide [organ and electronics: 6’]

2015

boxmusic [toy piano: 3’-4’]

ijereja [open notation opera materials]

parergons [violin, violoncello, piano: 16’] Commissioned by the 840 Concert Series, London.

2014

**entoptic landscape** version 5 [organ, voice and fixed media: 5']

exchange.practice [sound installation/over-recording work]

the carp flop 3 songs [ST, ST with fixed media; ST with fixed media]
Collaborative developmental work with Adam Strickson for a new music theatre piece.

entoptic landscape version 3 [organ and fixed media electronics: 10’]

a common method commissioned by the Clothworkers Consort of Leeds [SATB: 12’]

2013

entoptic landscape version 2 [two tubas and two open notation parts: 12’]

fo[u]r strings [for eight or more string instruments: 10’

work for 1, 2, 3 or 4 saxophones [8’-12’]
Commissioned by BL!NDMAN Ensemble (BE)

entoptic landscape [piece for trombone, four tubas and organ] Commissioned by Octopus Collective, Barrow

vertical features [12 graphic scores]
Commissioned by Octopus Collective, Barrow

Dalton, Retold [Film, 30’]
Commissioned by Octopus Collective, Barrow

Dalton, Retold [Brass Band, 4’] For Dalton Town Band
Commissioned by Octopus Collective, Barrow

2012

silent.night. [acousmatic work: 3’]

sound.practice. [tape, with optional live part for prepared or found piano: 12’]

imagined community [version 1: SATB choir and optional solo instrument; version 2: open choir and solo instrument: 8’-12’]

/’(h)weTH with visual artist Rebecca Armstrong for BL!INDMAN Ensemble
Multimedia work for two video projections, four channel tape, two independent tapes,’cello, and installation: 12’

i am but one small instrument for solo piano, written for Ian Pace: 8’

Concerto open instrumentation score.

grimsby psalter for choir. Commissioned through Making Music and the PRS for Music Foundation for Grimsby Philharmonic Choir: 20’.

2011

AAEFFNR (Electroacoustic Fanfare): 3’

lines that have been drawn on photographs of sculpture (Open Instrumentation/open duration)

straight line music (Open Instrumentation/open duration)

Green Angel
A chamber opera in collaboration with writer and theatre director Adam Strickson (2009-2011): 75’

2010

the enigma machine 4: the historicity of cartography (B.Cl; Pno; Perc: 10’)

the enigma machine 5: de nostra re (organ: 8’)

the enigma machine 1: hendecaptych of hans memling (Mezzo; Fl; Vco: 12’)

the enigma machine 2a: properties and essence (Piccolo and Quartertone Alto Flute: 10’)

the enigma machine 2b: [no subtitle] (Trumpet and Horn 10’)

the enigma machine 3: archipelao (music box ensemble: varies, c.7’)

2009

the empiricist view (BFl; Ob; BCl; Perc; Pno; Hp; Mnd; Gtr; Vln; Vla; Vco; Cbo: 18’)

love speed and thrills (open instrumentation; black and white film; public address loudspeaker: 10’)

Item that all of them did this. Item that some of them did this. (Fiddle; Vln; Gtr: 10’)

as a name i am a myth (BCl; Harpsi; Vln; Public Address Loudspeaker: 12’)

2008

Item that all of them did this. Item that some of them did this. (Tape: 10’)

in the back there was a pigeon (c) (open instrumentation/open duration)

fermata: stop temporarily, and remain, as if unwilling to leave (Chamber opera: 60’)

in the back there was a pigeon (b) (Fl; Hp; Gtr: 8’)

Перестройка (Percussion, Drum Kit, Tape and Projection: 30’)

in the back there was a pigeon (a) (S; A; Fl; Vln; Vla: 6’)

2007

then it became its own darkness (BFl; 3 Flutes on tape; Live Electronics: 10’)

the nextlasttime will be thelast (Tr; A. Sax; Perc; Gtr; Vln: 8’)

personality is a series of successful gestures (open instrumentation/open duration)

the rosy cross III (Fl; Hn; Perc; Male Voice; Vco: 8’)

2006

Robin and Marian (solo piano: 15’)

my root is beautiful (solo harp: 10’)

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