Verdigris Motion

Commissioned by Edward Armitage BEM for his son, Patrick Armitage, Verdigris Motion carries deep personal and historical significance. The Armitage family’s connection to St Bride’s Church, Fleet Street, extends through generations, with Edward’s grandfather, Cyril Moxon Armitage, serving as rector after World War II. Following the devastation of the Blitz in London, Cyril oversaw the church’s reconstruction — a project completed with a rededication by Queen Elizabeth II.

‍

One of St Bride’s most distinctive features has been its historic bells. Dating back centuries, these bells have long been a sonic landmark of London’s Fleet Street, their chimes resonating through the city. St Bride’s is often regarded as the “Journalists’ Church,” owing to its location in the historic printing district, where the bells once signalled time for the pressmen. The current bell, installed after the war, carries with it a rich patina of history and sound.

‍

There is a sonic identity embedded in Verdigris Motion. The opening motif, drawn from the bell sounds of St Bride’s, serves as a unifying feature throughout the piece — an echo of time, memory, and restoration. The word verdigris refers to the green patina that forms on aged bronze, symbolising the weathered beauty of the church’s bells and their enduring presence through time.

‍

The work is rhythmic, driven, and full of vigour, reflecting the energy of both the bells and the virtuosic interplay between the instruments. The piano’s opening motif pays homage to York Bowen’s Toccata — a piece that has left a lasting impression on my piano writing. Bowen, a master of tuneful chromaticism and technical brilliance, inspired the intricate and dynamic nature of the piano writing in this piece. The bass trombone, with its deep resonance and expressive power, mirrors the grandeur of St Bride’s bells, creating a striking interplay of colour and rhythm.

‍

— john frederick Hudson
28 February 2025