SAMUEL D
LOVELESS

for saxophone and amplifier Composed by Samuel D Loveless Performed by Thomas Fletcher

For solo piano by Samuel D. Loveless. Composed and recorded during the third lockdown in December 2020 - February 2021. Performed by: Roberto Boschelli Director: Samuel D. Loveless Sound Editing: Edward Cross Video Editing: Samuel D. Loveless

ˈkrɪstəfə [fréedom.] is an introspective reflection and is a duet between the performer with their whole ‘self’ and the space. ˈkrɪstəfə [fréedom.] explores something that is greater than one’s self, endeavouring to look beyond the self. In this sense, the performer must assume the role of a vessel - “a person regarded as a vehicle for some purpose or quality”. ˈkrɪstəfə [fréedom.] explores how being a vessel affects the function of knowledge; aiming to redefine one’s perception of knowledge. As a vessel, the performer seeks to explore what is beyond the personal world of perception and reception, expanding the notion of truth. If nothing else, this is liberating. Composer: Samuel D. Loveless Performed on 11/07/21 as part of the Royal College of Music's day festival 'FestivALL', by: Flentrop Orgelbouw Organ Amaryllis Fleming Concert Hall Anian Wiedner

'FIVE SOUND BOXES' focuses on the players’ and audience’s relationship with audio speakers, and aims to reposition and recontextualise that relationship. This is done by placing the audience within a sea of sound, created by the players manipulating the speakers. NB: all speakers used within the performance of this work were second hand, disused and partly-broken, and have been or are in the process of being up-cycled! Written for and performed by Explore Ensemble [Alto Flute, Bass Clarinet, Violin, Viola, Violoncello and Piano] Composed by Samuel D Loveless Performed at the Royal College of Music [Performance Hall]

'For a Love That Never Was' is a work for ballerina and tape, and is a depiction of Hans Christian Andersen’s The Little Mermaid. The piece is the result of a collaboration with ballerina and choreographer Abigail Fletcher, as part of a project with the English National Ballet School, the London College of Fashion, the Royal College of Music and the Wallace Collection. The piece shows the protagonist’s soul-selling journey as she emerges from water, only to find herself in a position to kill the prince she loved, but who never loved her. Abigail Fletcher: Ballerina & Choreographer Samuel D Loveless: Music Ethne: Costume Karolina Gruszecka: Hair & Makeup Performed at the Wallace Collection

'The Voice of the Guitar' (from 'Familiar Sounds' [collection]) is written for guitar & sustained string vibration [/string exciter]. Written for and performed by Axel Krogness Composed by Samuel D Loveless Performed at the Royal College of Music [Performance Hall] 'Familiar Sounds' is a collection of short works written for varying musical abilities, instrumentations and performance situations. In this collection, 'Familiar Sounds' opens up a musical dialogue to people beyond the trained musician.

‘The Joy of Letting Go [orchestral version]’ (from 'Familiar Sounds' [collection]) is written for orchestra - with each playing needing a balloon. Performed by Royal College of Music Orchestra Conducted by Graham Ross Composed by Samuel D Loveless Performed at the Royal College of Music [Amaryllis Fleming Concert Hall] 'Familiar Sounds' is a collection of short works written for varying musical abilities, instrumentations and performance situations. In this collection, 'Familiar Sounds' opens up a musical dialogue to people beyond the trained musician.

‘Familiar Sounds [for the untrained musician]’ (from 'Familiar Sounds' [collection]) is written solo performer (with no musical training) & keyboard instrument. Written for and performed by Jessica-Rose Hill Composed by Samuel D Loveless Performed at the Royal College of Music [Performance Hall] 'Familiar Sounds' is a collection of short works written for varying musical abilities, instrumentations and performance situations. In this collection, 'Familiar Sounds' opens up a musical dialogue to people beyond the trained musician.