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The Yellow Wallpaper (2016) - Grace-Evangeline Mason

A new opera by Grace-Evangeline Mason. Created as part of the Formations project by the Helios Collective. Hosted by the English National Opera, and performed and filmed at the Lillian Baylis Studios, West Hampstead - November 25, 2016.

Amongst The Cinders (2017) - Grace-Evangeline Mason

Gillian Blair - Saxophone, David Gibson - Piano. AMONGST THE CINDERS is a short work for soprano saxophone and piano that seeks to create a dense, heavy and haunting atmosphere to echo the aftermath of a burnt-out fire. The piece builds into moments of ignition to reflect the cinders that no longer produce flames but still contain combustible matter within them.

FIREWORKS (2018) - Grace-Evangeline Mason

For soprano and orchestra. First performed by Ann Wilkes, soloist, and the Brand New Orchestra at the Royal Northern College of Music, Manchester, conducted by Ellie Slorach (26/04/18)

LSO video introducing ‘Fafaia’ (2018) - Grace-Evangeline Mason

Grace-Evangeline Mason, 2017 LSO Panufnik Composer, was commissioned to write a piece for the LSO Community Choir as part of our commemoration of the centenary of the 1918 Armistice. In this video Grace and members of the Community Choir describe the work and its setting of the war poetry of Rupert Brooke.

Glass Cathedrals (2019) - Grace-Evangeline Mason

Psappha Ensemble - http://psappha.com - Lauren Scott (Harp) 'Glass Cathedrals' (2019) for solo harp is inspired by the conceptual image of a grand cathedral constructed entirely of glass.The work seeks to create a delicate sound-world to emulate the fragility of the glass structure, contrasted by the use of prevailing, stronger indicatory material to emulate the large, imposing building itself. The piece aims to capture a moment of fleeting, temporary splendour before its great, and expectedly enduring, structure shatters. The melodic content is also inspired by lines from the poem ‘Adonaïs’ by Shelley: ‘Life, like a dome of many-coloured glass, Stains the white radiance of eternity’.

Press

“Short, but highly charged, pungent harmonies rippling downwards, fierce accents, and the odd detuned chord”
— The Times ⭐️⭐️⭐️⭐️ on 'RIVER'
“Mason burst onto the scene in 2013 with a piece called Convergence, an intensely wrought work for soprano, violin and cello. Now in her early 20s and still at college, Mason has a keen ear for musical texture - from dreamy hazes of electronic sound to sumptuous choral writing.”
— Andrew Dickson, BBC Proms
“This wasn’t the first setting I’ve seen of this striking little story, but Grace’s version leapt out of the page with particular vigour; I loved the musically animated wallpaper.”
— Judith Weir on 'The Yellow Wallpaper'
Across a variety of concert halls at Southbank Centre, there was music addressing all sorts of heavy subjects. Grace-Evangeline Mason’s Into the Abyss, I Throw Roses was a beautiful and muscular piece for a string trio inspired by a Nietzsche quote.
— The Guardian ⭐️⭐️⭐️⭐️
“River, given its first concert performance at the water-themed dockside Prom in Hull, is a lushly scored work, in which liquid washes of string sound contrast with icy stabs of woodwind and brass.”
— Andrew Dickson, BBC Proms
“Grace-Evangeline Mason, a composer barely out of her teens, who already seemed to me to show a strong theatrical flair in her piece, The Yellow Wallpaper, which made an immediate impact on us all. I was not the only one to find it the most mature and persuasive”
— Brian Dickie, Opera Artistic Consultant, on 'The Yellow Wallpaper'

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