This is the website of Clement Jewitt, PhD: composer, writer, etc.

 

This page contains extracts from what others thought: endorsements, reviews and other comments on his work.


GENERAL COMMENTS

From Dr Rod Paton, University of Chichester, England. "... a fertile imagination, a high level of musical understanding and an exacting attention to details of technique ...  modernist but entirely accessible ... a deep sense of engagement with performer and potential audience ... engaged with a 'new paradigm' of aesthetics which places creative process at the heart of psychic development."

From Diana Burrell, Guildhall School of Music and Drama, London (at the time of the comment). "Clement is a fine musician with far-reaching interests and a wide experience of all kinds of music-making. … each new work shows an ever-increasing sophistication in scope, form, instrumental colouring, etc."

from Dr Sydney Baggs, New South Wales, Australia (eco-architecture pioneer, now retired) 
"Your music is evocative and haunting. It has a mysterious quality that is very appealing."

from Steven Lloyd-Gonzalez, Conductor, Vienna.  "I have been fortunate enough to have conducted no less than three of Clement's works, on three separate occasions. Clement's music has within it the essential ingredient so craved by all composers; originality. To study a score of Clement's is to experience a masterclass in the formation of musical ideas into a unique whole. I look forward to many more collaborations in the future."

 


ON VARIOUS SONGS

From Delyth Wilkinson, singer and psychotherapist.  "... all the wonderful sounds and textures ... You are writing at a very deep level of poetic experience, and that makes the songs extremely intense."


ON SPECIFIC COMPOSITIONS / PERFORMANCES

The Night Sea: aspects of an ordinary life (Walt Whitman, Richard Eberhart, Charles Wright, bell hooks, Connie Bensley, the composer, Mark Strand & e.e.cummings) 2003-5, for solo female vocalist, male voice choir and 19 instrumentalists; duration c.50’.

From Jonathan Harvey (now deceased).  It's a powerful piece, I would love to hear it ... as a marriage of music and textual journey it must be quite an experience ... I was impressed by the economy and directness of the writing ... a strong musico–ritualistic expression ... the movements are all quite terse without being mean; they have some generosity of expansion as well. The canonic stuff also strikes me as very beautifully calculated. … an inventiveness of imagination in the ... distinctive overall quality of the song's dominant material. … created with a powerful imagination. [He never did hear it, alas!]

From Diana Burrell.  This is a rich, colourful work, brimfull of life and energy! ... goes right to the heart of creation, celebrating humankind's place in the cosmos ...  here is one [score] I'd really like to hear, for in an age addicted to irony and superficiality, this is a strong, generous piece of music which truly deserves a performance.
 
Invocations to Archangels (composer’s text) 2002. Counter-tenor, 2 tenors, baritone Duration c.8’. Choral version, SATB, 2003.

Pers. comms from listeners to the quartet version. "The music is evocative and haunting. The sounds recalled me to a symphony of souls I heard while in an altered state." Shulamit Elson, author of Kabbalah of Prayer: sacred sounds and the soul’s journey.
"I chanced (?) to switch on the radio this morning ... and at once found myself listening utterly spellbound to something profoundly beautiful. … this hauntingly beautiful mysterious sound."  Acquaintance Sue Thoma.
"It seemed to me that, had he had access to modern composition techniques, William Byrd could have written this."  Andrew Burniston, Jung scholar, in his introduction to my talk on music history to the London Jung Club

On the choral version.
Leicester Mercury 11th November 2009: "... Clement Jewitt's arresting Invocation to Archangels.  With its constantly changing time signatures and subtle, shifting harmonies, this striking work has a mesmerising quality. It was brilliantly realised in a stunning performance." Neil Crutchley.
Leicester Mercury 6th November 2008: "... The choir ... [gave] stunning performances of 20th Century music in the second half.  Clement Jewitt's Invocations to Archangels ... the more I listened, the more its calming, mesmerizing qualities became apparent." Peter Collett.
 
“But we must still be seeking?” 2001. Wind quintet, duration 15’. Winner of Birmingham Chamber Music Society prize.
Tempo No.220, April 2002, p.40: … One might be forgiven for thinking that a new wind quintet in a programme that also included works for the medium by Hindemith, Ligeti, Nielsen and Janácek would be lost, but it says a lot for Jewitt’s piece that this was not the case ... an undeniably effective work. … from simple beginnings the language is modified and expanded, often very lyrically but also contrapuntally, to take account of the new dialectics that are being formed. ". Raymond Head
 
Chechnya Story (after a text by Olivia Ward, award winning reporter for the Toronto Star) 1997. 2 narrators, trombone, 2 percussion, strings 4 2 2 1; duration 32’.
Coventry Evening Telegraph 27th March 1998. … most striking … melodrama, but any association of Jewitt’s sensitive expressions with that over-used term with its meaning today is wildly inappropriate … an overwhelming statement of compassion. Words set by composers like Schubert and Bach become transfigured by the process of being adorned with music, and for one of those rare times in my life, I felt that such comparisons are anything but ridiculous. Stephen Daw.
Toronto Star 14th March 2000. … left a Canada House audience haunted … brooding score … formed a harrowing backdrop to the spoken word delivery of Ward’s text. Mitch Potter.
Pers. Comm. … I look back to the Chechnya piece as one of the most interesting and stimulating pieces in which I was privileged to be involved and thank you sincerely for that memory. Corinne Lang (narrator).
Vivian Ellis Prize Reader 1998. A powerful thought provoking epic dramatic score. It would work well as a dance piece or even film score, but not as a musical in its present form. [Well, that submission was just curiosity - I knew full well it was not what they were looking for! CJ]
 
Knit Up the Ravell’d Sleeve of Care 1995-6. 11 bassoons, 1 contra-bassoon. Duration c.15’. Winner of Birmingham Conservatoire composition competition (the ensemble was specified)
Birmingham Post 18th May 1996. … substantial and darkly atmospheric as various combinations emerge both physically and musically from the pools of the unconscious mind. Christopher Morley.