Interventions 6 – 10 is a collection of chamber music and contemporary alternative songs by Nicholas Patrick Quigley. Building off Interventions 1 – 5 , which was produced with the intention of providing a “gallery experience,” 6 – 10 goes further to provide environmental soundscapes and digital sound sources to sometimes provide a sense of distance from the listener’s present environment and time. Also unlike 1 – 5 , while the primary composition of works still relies on the ‘intervention’ and ‘episode’ model, two ‘interludes’ are also included. The record opens with the first iteration of Interlude No. 1, for environments and euphonium, featuring a busy metropolitan area. Interlude No. 1 also eventually features a forest, then a beach, and those recordings are placed in the middle and end of the album respectively. Intervention No. 6 somewhat breaks the previously-established model for multi-episode interventions, usually composed for a uniform instrumentation. Episode I is composed for solo viola, then Episode II for solo piano. Intervention No. 7 follows, and is a contemporary alternative song which first introduces digitally-synthesized sounds on the record, paired with a very close-sounding, narrator-esque voice. This places the composer directly into the album, in his own voice, to communicate directly to the audience on a subject that should be paramount for all of us—though it is the topic of so many other songs already. Interlude No. 2 follows, and introduces synthesized sound for the first time on the record. Composed in the middle of the recording process—unlike the rest of the music, which was composed in December of 2017 and January of 2018—Interlude No. 2 is one melody, created from a descending sequence, then heavily manipulated using digital audio software to create a short work in three distinct parts. Following this is Intervention No. 8 , composed in three episodes for a small, single-person ensemble of a violist, with droning tuners and beat-producing metronomes. Intervention No. 9 suddenly appears after the second iteration of Interlude No. 1, and provides a bright, peppy foil to the rest of the album. A solo synthesizer also provides a different imagined environment once more, as Intervention No. 7 and Interlude No. 2 does previously on the album. Intervention No. 10 follows and reprises the violist, but without the metronomes, tuners, or a piano following that was previously heard. Finally, the last iteration of Interlude No. 1 closes the album, featuring a soundscape of the composer’s favorite physical environment—the beach.

"Intervention No. 7" video, directed by Gregory Mahan: youtu.be/MrUCPXGhYRw

"Interlude No. 2" video, directed by Gregory Mahan: youtu.be/5syVDBw_IVA

Score: www.researchgate.net/publication/362242733_Interventions_6_-_10_Musical_score