Blue Touch at Beaumont House

You are invited to a unique event:


Soundstream’s 2018 Blue Touch series launches in the beautiful ballroom of Beaumont House, with pianists Gabriella Smart and Dan Thorpe, and cellist Rachel Bruerville workshopping new pieces by composers Rachel Bruerville, Jesse Budel and Dylan Crismani.

Where: Beaumont House, 631 Glynburn Rd., Beaumont
When: Sunday February 25, 5-7pm


Seats are strictly limited, so be sure to book your place

$5 Donation towards refreshments.

Composers: Jesse Budel, Rachel Bruerville and Dylan Crismani
Long Island by Jesse Budel
Written for piano four-hands and electronics, Long Island is named after the eponymous island on the Murray River at Murray Bridge, and provides a visceral journey of the area’s terrestrial and aquatic soundscape, investigating the impact of motorboat noise on aquatic environments.
You can hear a shorter electronic version of the work, premiered at Michigan Tech University in December 2017, here <>.
Jesse is currently in his final year of PhD research at Elder Conservatorium, and was awarded an 2017 Carclew Fellowship to undertake a professional development of the US and Canada.
Under the Fig Tree by Rachel Breuer
Adelaide-based Rachel Bruerville is a composer, arranger, cellist, singer, and writer, whose main performing activity is singing alto with the Adelaide Chamber Singers, as well as playing cello with her band, Minority Tradition. She finished her B.Mus in 2015, and all things going to plan, she will complete her Honours year in composition at the Elder Conservatorium in July this year.

The first version of her work Under the Fig Tree was originally written for solo classical guitar in 2014, and now in 2018, the piece will be reimagined for cello and piano. The title was inspired by Rachel’s grandma’s musical synesthesia, where B major is reddish-brown (figs), and E major is green (leaves). Oh, the serenity!

To find out more about Rachel and her work, please visit <>  music, or <>

The un-tempered pianos by Dylan Crismani
The un-tempered pianos is an extended minimalist work for two pianos and one pianist in just intonation. The piece explores a tuning in just intonation based on the prime numbers 3, 5, and 7. It also explores the concept of critical bands through the syntonic comma – 81:80. The composer of the piece is Dylan Crismani who is a PhD candidate at the University of Adelaide, his PhD focuses on a theory of music based in geometry and symmetrical patterns of shapes and numbers.
The un-tempered pianos explores the following concepts:
  • Modes of Synthesised Inversional Symmetry (MOSIS)
  • Harmonic Clouds and dyadic harmony
  • Critical Bands
  • Polyrhythms
  • People Process, Repetition Process, and Mathematical ProcesS
MOSIS is the acronym for Modes of Synthesised Inversional Symmetry, and MOSIS are part of Dylan Crismani’s contribution to knowledge as a PhD candidate. The concept can be compared to transposition in musical terminology, where 1 set of pitches is the inverse of another set of pitches. This kind of transposition and inversion is possible in regular tempered piano tuning, but it limited to 12 notes only, or two sets of 6 and lower. The un-tempered pianos explores this idea in a 24/48-pitch micro-tonal system. Another way to think of this concept is in terms of geometry, where the charateristics of a certain shape – i.e. the length of sides, and degree of angles, can be replicated, or translated from one place to another, in a number of dimensions, including the theoretical fourth dimension. The un-tempered pianos explores a number of these geometrically conceived modes throughout all nine movements of the un-tempered pianos.
Harmonic clouds, and static dyadic harmony are ideas borrowed from avant-garde American minimalist La Monte Young. Harmonic clouds are cluster chords played with a rapid, and indeterminate tremolo. Dyadic harmony is harmony based on two pitches only, this is also a borrowed concept from La Monte Young’s well-tuned piano.
Critical bands can be likened to the visual arts where an artist can access unlimited shades of the primary and secondary colours, the only limit being that of human perception. The same is true in music, where musicians can explore unlimited shades of the main 12 musical pitches, this is a widely accepted idea in Indian classical music. The un-tempered pianos explores different shades of the same pitches through two pianos, and through the syntonic comma, which creates the kind of beautiful dissonance reminiscent of the inharmonicity of Javanese Gamelan instruments.
Polyrhythm is the juxtaposition of one rhythmic pattern against another. This idea is explored in the final movements of the un-tempered pianos. This is implemented through various finger patterns which create accents at different times, creating a back and forth echo between the two pianos.
People process is used in this piece. The meaning behind this is that the performer is instructed to move through the composition at their own pace. Repetition process is the process where movement in the music is created solely through extended repetitions. Mathematical process is also used in this piece whereby short repeated patterns evolve into longer patterns through the process of addition.
The aim behind the entire piece is to explore a new world of sounds not through the traditional mechanisms of melody and motif, but through relatively modern approaches to composition, a new approach to piano tuning.

The use of Beaumont House is generously provided by the National Trust of South Australia as part of Gabriella’s Prelude Composer Residency. Prelude is a national network of residencies for Australian composers, housed in historic buildings and providing time and space to create new work. It is a collaboration between the Peggy Glanville-Hicks Composers Trust , National Trust of Western Australia , National Trust of South Australia , , APRA AMCOS  , Arts South Australia  , The Helpmann Academy  and Bundanon Trust.