Claire Roberts (13), Ysgol Bro Myrddin, Carmarthen, Movement
(Track 1)

“Movement for String Quartet”: I gave the music this name because not many String Quartet pieces are just the one bit of music, so I thought I would write something that could be part of a bigger score. Perhaps you have noticed also how fitting the word “movement” is in such a busy work.

This piece says a lot about me - loud, rushed and crazy. The main theme was almost an accident as I planned on composing a jig or reel inspired by Celtic folk tunes but after adding some accents I thought it sounded better in a modern, rhythmic style. Thanks to this discovery I experimented throughout on this set of notes.

Matthew Wallace; Amman Valley Comprehensive; 'Footie for Five'
(Track 2)

A love of football in general, and Swansea City in particular, was my inspiration for writing Footie for Five. The passing of the melody between the various instruments is intended to reflect the passing of the ball between the players on the football field. Any game of football is one of two halves, but sandwiched between the halves of this composition is a tribute to the emotion, passion, excitement and patriotism that is experienced by myself and my fellow fans as we support our team through the highs and lows of the football season.

Robert Bettles; Ysgol Gyfun Emlyn; 'A Dream'
(Track 3)

Shock and awe were the first two emotions to hit me when I discovered I was to be composing for wind quintet, but what started off as shock turned to enjoyment and pleasure (which turned to ,panic as the closing date drew near). The piece itself started off as a basic melody written on the piano in the Dorian mode, and gradually and rather painstakingly evolved into the medium of wind quintet. The piece did start off as more of a nightmare, but I hope you enjoy the fruits of what has been a truly dreamlike time for me.

Susie Goffin (17), Q E High School, Carmarthen, Andantino
(Track 4)

This is one of a pair of string pieces depicting conflict and calmness respectively. For this movement, I have aimed to write expressively and lyrically for string quartet, in the manner of a slow movement. My influences were mainly French composers- Fauré, Ravel, and Debussy.

The whole movement is based on two ideas, the ostinato in the viola combining with the violin dialogue. I have paid particular attention to the part writing in the piece, aiming for an intimate discussion between the four players.

Ruth Morris; Penglais Comprehensive School; 'The Bells of Rome'
(Track 5)

The inspiration for my piece came from images of Rome - ornate churches and stately processions which are reflected in the music. I wanted to capture the enchantment of this great city, especially in the melodic writing and after the time and assistance I received from the workshop with John Metcalf I realised the atmospheric potential of the instruments of a wind quintet. I aimed to make the piece challenging but enjoyable for the players, and I do hope that it is as enjoyable to listen to as it was to write.

Steffan Huw Watkins (17), Ysgol y Strade, Llanelli, A Suite Taste for Strings
(Track 6)

This piece is in three sections, a slow opening section, a playful and fun-like middle section, and a strong motoring closing section. It is written for string quartet. Before putting pen to paper, I thought of six notes, in random order, and then arranged them into a suitable and memorable pattern, which is what is heard in the opening four bars. I alter and imitate this pattern through the three movements (with one or two extra notes for special effects!), gradually bringing back the opening to make a firm conclusion.

Emma Downer; QE Maridunum School; 'Woodland Dance'
(Track 7)

I was inspired to write a piece of music from an experience I encountered last summer, when I saw a play performed by the National Youth Theatre of Wales 'Whispers in he Woods' on the subject matter of good and bad, portrayed by fairies. Consequently I resolved to write some incidental music for an imagined fairy tale production as part of my A level portfolio. After attending a workshop given by Y Celtaidd I heard the exact sounds I was looking for in my piece.

The music has a ternary structure, the gentle woodland music framing an energetic fairies dance. A solo piccolo sets the magical scene and returns in the concluding bars.

John Aveson; Penglais Comprehensive School; 'Order and Chaos'
(Track 8)

The idea for the title came about from a comment made by John Metcalf during my tutorial: 'It's as if there was a busy street and suddenly someone let a helium balloon go and it floated and soared above the crowd.' I had taken him 2 ideas, the opening theme and the melody heard about halfway through. The theme is played, first in the 'correct' direction, then in retrograde. It is then heard in different rhythmic patterns and accompaniments. The second theme is based upon an idea I had for a solo piano piece. This theme has a strong melody, so I included it as I feel it important to provide an audience with a satisfying tune as well as more avant-garde music.

Note, though, that although the music is at times chaotic, the chaos is never uncontrolled.

Jack Westmore; University of Sussex; 'Piece'
(Track 9)

I'm quite interested in rhythm and texture. Everything I write these days seems to be in a funny time signature and this piece is no exception. The 7/4 staccato rhythmic motif was the only idea I had originally, but I think it actually doesn't sound that weird, with the syncopation eliminating the expectation of an eighth beat. As I developed this idea I got the feeling that the piece should open with a series of repeated phrases which could be layered together, slightly awkwardly within the time signature. In this section timbre and effect were more important than the individual notes, although a prevalent melody did emerge, which I then used later in different textural settings.

Jack Westmore (20), University of Sussex, Roha
(Track 10)

There's a holy city in Ethiopia called Lalibela, which is famous for its monolith churches. A monolith church is one that has been constructed not through placing separate bricks one-on-top of another, but by carving the entire, full-size building out of solid rock or cliff face. In Lalibela there are 11 such churches.

My piece makes me think of wide open spaces, dusty, rocky landscapes, with expansive colours but detailed, defined lines. Before the monolith churches were built at Lalibella, it was called Roha. The idea that really struck me, was that before Roha evolved in this wondrous Holy City of Lalibela, in the stones and hills there was still power and beauty, or rather the potential for power and beauty, waiting to be realised. And so that a blank page, or canvas or score, can hold more beauty in its potential, than any great work of art.

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