Thanks to VHS and the thriving home video market, the sleazoid shocker became an instant cult classic. Back in 1982, distributors desperate to continue the coattail ride started with Halloween and Friday the 13th took the Spanish splatter film Mil gritos tiene la noche (вЂњThe Night Has a Thousand CriesвЂќ, roughly), renamed it, and added the intriguing tagline вЂњYou DonвЂ™t Have To Go To Texas For A Chainsaw Massacre!вЂќ With a final carnival barker punchline вЂ“ вЂњItвЂ™s exactly what you think it is.вЂќ вЂ“ the results were unleashed on an unwitting world. Others actually deliver the goods the studio staged ballyhoo promises. The sixth and final piece (вЂwith energyвЂ™) is a tour de force, which, as McLachlan comments, often uses jazz-inspired chords and impulsive rhythm changes to great effect, all of which the pianist despatches with such great Г©lan and control.Some horror movies can live solely on their carefully crafted hype. The language of the Six Little PiecesВ (1982/1993) has a still more austere aesthetic, each musical nugget led by its angular melodic contours. Paul Conway, Musical Opinion, October 2017 GregsonвЂ™s considerable technical demands were met with unobtrusive dexterity. Their moods ranged from jocund (no 2) to softly expressive (no 5) and lively and rhythmic (no 6) but together they constituted a convincing set derived from the same vibrant musical voice. Inspired by SchoenbergвЂ™s Op 18 set of 1911, GregsonвЂ™s short pieces are more vignettes than miniatures, the diminutive of the title denoting brevity rather than limited ambition. Throughout, one had the sense that Horton was inside the music, and utterly committed.ДЄlso on Tim HortonвЂ™s programme was Six Little Pieces by the festivalвЂ™s composer in residence Edward Gregson. As Gregson says in his programme note, there is nothing little about these pieces. Tightly written and formally compressed, they place virtuoso demands on the pianist. progressed via composer-in-residence Edward GregsonвЂ™s вЂSix Little Piano PiecesвЂ™. Pianist Tim Horton gave a compellingly fluent recital вЂ¦. Six Little Piano Pieces by composer-in-residence Edward Gregson continued this Second Viennese sound world, well-attuned to their individual characters and often tricky technical demands.Д¬hristopher Morley, Birmingham Post, August 2017 John York, Classical Piano, March/April 1996 Not too difficult, not so little either at nine minutes, by turns whimsical and virtuosic, with more than a passing not to Schoenberg op 19 вЂ¦, the deserve to be taken up by those open to contemporary, idiomatic ideas вЂ“ and they wonвЂ™t hurt your head. However, I have tried to unify the pieces in a number of ways вЂ“ most particularly by temporal relationships and the use of common material.ДЇinally, although I am not a Schoenbergian, it must be said that I do doff my hat in his direction with some admiration in these pieces. Two of the pieces were sketched when I was a student, whilst others were sketches for my much larger Piano Sonata in one movement which was completed in 1983. 2) and make use of parody (the quasi-Viennese waltz of No. In fact two of the pieces ( 4 and 6) are quite extended and technically demanding, whilst some are whimsical (No. Although my pieces are not in any real sense a homage to that set, they do apply some of the same compositional procedures вЂ“ compression of form, motivic use of a limited number of pitches, a concentration on timbre and texture, and a reduction of the means of musical expression.ДЄs with SchoenbergвЂ™s set, my pieces are not вЂlittleвЂ™ in any other sense than being relatively short. The title Six Little Piano Pieces has of course been used before, most notably by Schoenberg in his Op. The pieces were revised in 1993 and are now published in this version. This work was commissioned by Richard Deering with funds provided by the Arts Council of Great Britain and first performed by him in Amsterdam in October 1982.

Pieces 1982 music