CV
Compositions, collaborations, installations and exhibitions (original work)
2020 | Four pieces for the digital exhibition – Experimentellt kulturarv - Minnesportar / Experimental Heritage - Memory Portals 13th July - 1st November 2020:
2020 | Temporal-Forest Temple I: 2'10'' – en dikt med ljud/ a poem with sound.
2020 | Spiral Back 5'30'' – en film gjord av ljud och visuella (arkeologiska) fragment från "Utställningen Experimentellt kulturarv - avslut en ny början" Kamerala villan, hösten 2018 / a film made from audio and visual (archaeological) fragments from "Exhibition Cultural heritage - ending a new beginning" Kamerala villan, Autumn 2018.
2020 | Multi-vykort I: 3'15'' – en mashup av stråkkvartett Vykort Från Sandby Borg Frances Gill 2018 / Multi-postcard I: 3'15'' – a mashup of the string quartet Postcards From Sandby Borg Frances Gill 2018.
2020 | Soundmound Sandby borg I: 13'30'' – en digital prestation av ljudinstallationen SOUNDmound På Sandby Borg Frances Gill 2018 / a digital performance of the sound installation SOUNDmound At Sandby Borg Frances Gill 2018.
https://experimentalheritageexhibition.com/francesgill.htm
2015 - ongoing | In collaboration with Helle Kvamme –
2019 | Projektrum Pukeberg – performance In The Dark Room, February 2019, plus performance and installation collaboration together with Maria Kerin’s residence, and Experimental Heritage–Öland Group, April 4th 2019.
2016 | Experimental sound performance – for Kvamme’s performance piece Kropp–Ekonomi–Ekologi, Galleri Tinnert, Näsby, Öland, Sweden, 9th July 2016.
2015 | A Door At Sandby Borg – https://experimentelltkulturarv.se/
2015 | Experimental sound performance for Kvamme’s performance piece Place And Non-place in connection with a Seminarium at Yellow Box, Sattre, Öland, Sweden, arranged by Linnaeus University, September 2015.
2010 - ongoing | In collaboration with Annika Grünwaldt Svensson –
Forthcoming | Lekfullt – sound illustration over five loud speakers for a three-year exhibition about ‘playfulness’ at Kulturparken Småland/Småland museum. Opening postponed due to COVID-19.
2019 | Wunderbaum – sound illustration for an exhibition about the spruce tree, at Kulturparken Småland/Smålands museum. Open from 26th June 2019 till the 10th November, 2019.
2019 | Deep Water For Bäckahästen – short electroacoustic piece commissioned by Svensson for her interactive-instrumental sculpture Bäckahästen currently installed at Gärdslösa on Öland, Sweden.
2016 | Playing The Bäckahäst – sound-bed for Svensson’s illustrations of her Bäckahäst bell-harp as a soundtrack for the visual presentation Oland’s Water From The Stars.
https://www.youtube.com/watch?v=FSYpVewUodM
2016 | Sound-bed flute improvisation: for Svensson’s photograph presentation of Öland, including photographs of swans by Jörgen Ludwigsson.
https://www.youtube.com/watch?v=p2XLebPBjaQ
2012 | Sound illustration: for Svensson’s sculpture exhibition called Te Hos Hattmakaren, Tingsryd Konst & Hembygdsrunda 2012.
1988 - ongoing | In collaboration with Steve Edwards –
2019 | Blue Fields – arrangement for youth choir and piano from Tractor In The Sky Gill/Edwards 2010. Commissioned by Svenska Kyrkan for a performance in Väckelsång church 2nd February 2020 in honour of Anki Lindeqvist.
Audio fragment - Read more
This is about a real cloud formation that looks like a mythical tractor has ploughed a field in the sky, and is about a child taking his mother into his imaginative world. This is an arrangement for youth choir written Autumn 2019, commissioned by Svenska Kyrkan, of a song Frances wrote in 2010 with text by Stephen Edwards. The excerpt is from a performance in Väckelsång church on 2nd February 2020 by ungdoms kören for Anki Lindeqvist who after forty years working in the village as organist and leader of four choirs, retired. The soloist is Linnéa Palmér.
2014 | Piano performances in Orange Night and Hiding – two songs by Edwards.
https://soundcloud.com/brian-pie
2008 - 2011 | Tractor In The Sky; The Willow Tree; Waterfall At The End Of The World; The Carpenter – songs by Gill/music & Edwards/text.
2000 | Hold On Me – song by Gill/music & Edwards/text.
1997 | Flute and piano arrangements for Club – a play with music, by Edwards.
1989 | Flute arrangements for street busking tour with Edwards – June - August 1989, Cornwall, UK.
2018 | Samples provided for Flight 771 – digital track by Maloney, Schofield & ‘In The Mix’ Contributors 2018. https://inthemix2018.bandcamp.com/releases
2018 | Smound – site-specific sound installation of the SOUNDmound At Sandby Borg for the Parkgate Road Campus, University of Chester, UK. Launched December 2018. https://www.soundmound.org
2018 | SOUNDmound At Sandby Borg – site-specific sound installation at Sandby borg, Öland, Sweden. Launched 16th July 2018, for Experimental Heritage–Öland Group. https://www.soundmound.org
2018 | Vykort Från Sandby Borg – scored string quartet first performed at the Long Island String Quartet Festival: - Daniel Bard – violin; Claudia Ajmone – violin; Pål Solbakk – viola; Per Nyström – cello; at Resmo church, Öland, Sweden, 13th June 2018. For Experimental Heritage–Öland Group.
Audio fragment - Read more
‘Lament' is about the wars that have brought families on sea journeys to the shores of the hope. These are the shores that return to the space between life and death. It is one of the short movements or ‘postcards’ from the string quartet called ‘Vykort Från Sandby Borg’ written by Frances in 2017-18. From a recording of a performance by Long Island String Quartet at Resmo church on Öland in July 2018.
2017 | Green Källa (composed with Susan Beatty) – scored piece for swan-radius bone flute labelled ‘Geissenklösterle 1 - Frances Gill 2’ (GK1-FG3) which is a reconstruction of the Upper-Palaeolithic artefact ‘GK1’ recovered from Geissenklösterle Cave, Germany. First performed by Frances Gill for a film by Ylva Magnusson, on location at Galleri Tinnert, Öland, Sweden. Screened at the two week exhibition called Skissande rum in Hedvigs hus, Ölands Museum Himmelsberga, Sweden, organised by Experimental Heritage during the Kamprad project, throughout August 2017.
https://www.youtube.com/watch?v=-zoN_RhYM5g
2016 | Hör stenåldersflöjten från Karin Bojs program igen! – short collaborative piece with Jan Bengtson for the swan-radius flute (GK1-FG2) for a podcast, Sommar i P1/Karin Bojs, Sveriges radio, produced by John Swartling. First broadcast 19th August 2016. https://sverigesradio.se/avsnitt/768837
2016 | Exhibition collaboration: A joint installation by all members (and under the title) of Experimentellt kulturarv Öland at the exhibition called Flätwork centred around a wooden bureau – to include the screening of A Door At Sandby Borg, (and physical exhibiting of this door), at Galleri Tinnert in Näsby, Öland, Sweden, organised by Kulturell tankesmedja, 9th July 2016 – 14th August.
2015 | A Door At Sandby Borg – improvisation piece for piano to accompany photographs documenting a performance by Helle Kvamme and Ludvig Papmehl-Dufay at Sandby borg, Öland, Sweden, in September 2015, published on the Experimental Heritage (Öland) website with slide-show images. https://experimentelltkulturarv.se/
2015 | Dance For Cajsa – scored piece for ulna and radius from a swan wing (both 14 cm long), including an electroacoustic section mixed by John Swartling. Performed in concert with Gjermund Kolltveit (jew’s harp) and Birgitta Ridderstedt (voice and body) at a concert within the Symposium, The Archaeology of Sound, Acoustics and Music at Linnaeus University (Växjö campus), Sweden, February 2016. // Dance For Cajsa performed in the ‘From Cave to Rave’ line-up at Festival Ljubljana on 25th August 2017, in association with the ICTM Study Group on Music Archaeology XV Symposium and Workshop of the European Music Archaeology Project (EMAP) – Music in the Stone Age – Ljubljana, Slovenia, 24th - 26th August 2017.
2015 | 14 cm – scored experimental piece for swan ulna and metal tubes. First performed at Sandby borg, Öland, Sweden, by individuals from Kulturell Tankesmedja in April 2015.
2005 | Ramdala – scored piece for Ghanaian drums and Brass Band; A commission for a recording collaboration project between the Ghanaian drumming group Aklowa, and Meltham and Meltham Mills Brass Band. Performed and recorded at Aklowa, the African Heritage Village in Takeley, UK, in the summer of 2005. Recordings produced by Chris Bullen at High Barn Records, and released as Come Let Us Unite Kpoo Keke.
Audio fragment - Read more
This piece takes a Ghanian drumming rhythm with a beat in 4 from which the piece is given a rythmic frame. At the same time the rhythm feels like it is in three (or compound duple time) and this moving in and out of two pulses at the same time makes the rhythm an interesting challenge. In the piece it is definitely the brass players who accompany the drummers and not the other way around which is a deliberate reference to the balance of power between brass players and drummers. The excerpt is from the introduction. It is called Ramdala because this is the name of the place that Frances was living in when she wrote it in 2005. It was a commission for a recording collaboration project between the Ghanaian drumming group Aklowa, and Meltham and Meltham Mills Brass Band. Performed and recorded at Aklowa, the African Heritage Village in Takeley, UK, in the summer of 2005, it was recorded and produced by Chris Bullen at High Barn Records, and released as Come Let Us Unite Kpoo Keke.
2005 | The Battle Of Stamford Bridge: The Musical – scored piece for children’s choir and pit ensemble. First performed by the school choir of Stamford Bridge Primary School, Stamford Bridge, UK, 9th, 11th, 14th and 16th March 2005, and directed by Michael Wiles and Mary Donnan. Recorded at the Music Research Centre of York University, UK, by Matthew Paradis in the same year.
Audio fragment - Read more
This was written for the children’s choir at Stamford Bridge and recorded in the studio of the Music Research Centre at York University, engineered by Matthew Paradis.
2004 | Mediaeval Melodies For Flute – score arrangement for flute, harp and drums from Venetian motets, first performed at Kristianopel Mediaeval Festival, Sweden, August 2004.
1998 | Cocktail Nights – song.
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Written, performed and recorded in York: Frances lead and backing vocals, flute, keyboard and bass. On guitar, Andy Normandale, maracas Dougie Weake and engineerd by Phil Eliot at the Old Dairy Studios.
1982 - 1989 | Early songs and short pieces –
1988 | Pains of Pendance – piece for piano
1988 | Brenhollat Circus – piece for piano
Audio fragment - Read more
This piano piece was written by Frances whilst staying in Morecambe in 1988. It was written at the same time Frances was studying Debussy both on piano and flute. The piano player is Paul Feehan.
1983 | Sometimes – song
Audio fragment - Read more
Written and recorded in Meltham in 1983, this is a song Frances wrote when she was 14, full of overly sweet teenage sentiment!. Voice - Gary Bellas.
Publications
Forthcoming | Gill, Frances/Petersson, Bodil/Weheliye, Fadumo. New Future: The Experimental Heritage of a SOUNDmound. In: Schofield John/Maloney Liam (Eds.), Music and Heritage: New Perspectives on Place-making and Sonic Identity. Taylor and Francis.
2020 | Gill, Frances. Ears to the Ground: On Cajsa Lund’s Legacy and Moving Movements. In: Kolltveit, Gjermund/Rainio, Riitta (Eds.), The Archaeology of Sound, Acoustics and Music: Studies in Honour of Cajsa S. Lund. ICTM Study Group on Music Archaeology, Vol. 3, Ekho Verlag, Berlin, pp 55-96.
https://www.ekho-verlag.com/the-archaeology-of-sound-acoustics-music/gill/
2016 | Gill, Frances. Foraging for Sound: Towards a Palaeolithic Flutescape and its Tonal Associations. In: Eichmann, Ricardo/Fang Jianjun/Koch, Lars-Christian (Eds.), Studies in Music Archaeology X, Sound – Object – Culture – History. Verlag Marie Leidorf GmbH, Rahden/Westf, pp. 251-255. https://www.vml.de/e/autoren.php?autor=G0308
2016 | Münzel, Susanne C./Conard, Nicholas J./Hein, Wulf/Gill, Frances/Potengowski, Anna Friederike. Interpreting Three Upper Palaeolithic Wind Instruments from Germany and One from France as Flutes. (Re)construction, Playing Techniques and Sonic Results. In: Eichmann, Ricardo/Fang Jianjun/Koch, Lars-Christian (Eds.), Studies in Music Archaeology X, Sound – Object – Culture – History. Verlag Marie Leidorf GmbH, Rahden/Westf, pp. 225-243.
https://www.vml.de/e/autoren.php?autor=G0308
2012 | Gill, Frances. Flute Lines: Experiencing Reconstructions Concerning Music. Bachelor dissertation in archaeology. School of Cultural Sciences, Linnaeus University, Kalmar/Växjö. http://lnu.diva-portal.org/smash/get/diva2:636086/FULLTEXT01.pdf
2003 | Engravings for The Illustrated Encyclopedia of Music, Flame Tree Publishing, London.
