The musical equivalent of important extracts taken from a diary. For colleges and professionals. Review: "A three movement substantial work for flute and harp, suitable for the concert platform. This would suit advanced students and professionals looking for a new work by a British composer. Although I haven’t performed this work yet myself, it would take some getting together and practice on both parts due to the tricky rhythmic passages and time changes in places. However it is a lively and accessible work, without being too heavy or chromatic, which would be suitable for the average classical audience and make a valuable addition to the repertoire. The slow cantabile feel of the second movement provides a contrast to the more busy and lively first and third movements. I look forward to scheduling this into a concert in the near future." – Dr. Rachel Smith DMA, MA, BMus (Hons), FTCL – May 2013 Review: "One Summer was composed for the British flute and harp duo of Anna Noakes and Gillian Tingay. This is a very technically and musically difficult duo sonata." – Suzanne L. Moulton-Gertig University of Denver in Notes, March 2000
Described by the London Times as "one of the most exciting and versatile British conductors of his generation”, Martin Yates made his conducting debut with Bizet’s 'Carmen' at the Israel National Opera aged 24 and has since had a busy career that has included conducting many of Europe’s major symphony orchestras and at many important opera houses including the Royal Philharmonic Orchestra, Royal Scottish National Orchestra, London Symphony Orchestra, Philharmonia, BBC Concert Orchestra, Royal Stockholm Philharmonic, Royal Flanders Philharmonic, Gothenberg Symphony Orchestra and Opera, Royal Opera House in Convent Garden, Royal Swedish Opera House and the Rome Opera. He has appeared with such leading performers as Montserrat Caballe, Bryn Terfel, Barbara Hendricks, Angela Gheorghiu, Roberto Alagna and Yo-Yo Ma and has conducted the Nobel Peace Prize Concert in Oslo three times. Intending from the outset to pursue a career as a composer, Martin studied with Richard Arnell and Sir John Taverner and has written four string quartets 'LA Beach Music', 'New York Night Music', 'Frisco Bay Music' and 'Nashville, Tennesse'. The ever-popular 'Café Music', a 'Harpsichord Sonatina', 'Divertimento' for oboe, bassoon and double bass and a considerable amount of music involving the flute, most of which was written for the British flautist Anna Noakes. These works include the Sonata 'Fire Island', 'Sonatina 1 and 2', 'Sonata for Flute and Harp' and 'Concerto for Flute, Harp and Strings'. The Guardian described Martin Yates as a composer of confident and engaging music that has a style and colour that is both immediately appealing and rewarding to listen to. Martin has also written several scores for theatre productions including the plays 'Jane Eyre', 'The Woman in White' and 'Dear Octopus', three musicals 'Wuthering Heights', 'The Soap Opera' and 'Nothing Doing Tonight' and later works include 'Brass Quintet' and 'The Promise' for Flute Ensemble. Players as diverse as flautist Anna Noakes, harpist Gillian Tingay, pianist Kathron Sturrock, flautist Emily Beynon, double bass payer Duncan McTeer, soprano Jean Glennon and conductor Kent Nagano have played his music. His very popular arrangements of the two Gershwin classics 'S Wonderful' and 'I Got Rhythm' for horn quartet are played all over the world.
In five movements, each with an engaging title, this is a substantial concert work which can serve as a principal item when programme building. Always tuneful and with a great variety of moods, it is a valuable addition to the flute and harp repertoire.
Two liltingly romantic waltzes, the second marked Gently Swinging. The first is based on a short ballet sequence on Oscar Wilde's The Nightingale and the Rose, composed for The Rose of Puddle Fratrum, an episode of the ITV childrens series Dramarama in the late 1970s. The work is an example of late twentieth century French-influenced romanticism, with a gentle jazz feeling in the second waltz and no reference whatsoever to modernist musical trends. It is extremely grateful to play and always pleases audiences. For secondary schools, colleges, conservatories and professionals.