Storm-song, as the title suggests, is concerned with two very different forms of musical material: 'storm' - tempestuous, dramatic and sometimes violent music with a strong sense of forward movement and goal orientation; and 'song' - a more lyrical, melodic aspect suggesting stasis and rest.

These two ideas are developed through opposing musical means. For example, 'storm' is characterised in the tape part mainly by noise-based sounds, whereas 'song' uses more pitched material. Similarly, in the piano part, panchromatic 'storm' music is contrasted with much more modal writing for 'song'.

Although the contrast between these two ideas is central to the work, they are seldom heard in isolation; rather, a dialogue is established in which elements of both types of material take part, each drifting in and out of the dominant role, this relationship itself being mirrored by the interplay between tape and piano.

Storm-song was composed during the spring and summer of 1987 in the Electroacoustic Music Studios of the University of Birmingham, England, and was commissioned by Philip Mead with funds from Northern Arts. It was awarded a Mention in the 15e Concours de Musique Electroacoustique de Bourges, 1988, and in the same year was selected for the Gaudeamus International Music Days, Amsterdam.

© 1997 A P Lewis, University of Wales, Bangor. All Rights Reserved.