Laurence Crane (*1961 in Oxford, England) mostly composes for combinations of instruments and voices which are generally identified as ‘classical’, to which he often adds elements from outside that tradition.
A constant preoccupation has been the use of commonplace musical objects in new structural and formal relationships. Chords and intervals in their most basic state, arpeggios, drones, cadences, fragments of scales and short stepwise melodies are presented in regular and irregular repetitions or juxtapositions that are partly intuitive and partly structured according to a formal scheme. He invents a new context for these objects, to discover a fresh beauty in the familiar and the ordinary.
Crane writes music largely for the concert hall, though his output includes pieces initially composed for film, radio, theatre, dance and installation. Between 1985 and 2003 he concentrated almost exclusively on writing miniatures; short pieces that are invariably focussed on a single idea. Over the past two decades, he has developed an interest in making longer works and several compositions since 2003 are of more extended duration. These pieces explore the possibility of building a large-scale structure using the same type of static and reductive musical material that was examined in the miniatures.