Music in the Round has commissioned me (whoop!) and the other three members of Platform 4 to write a new piece for their 2017 May Festival, inspired by famous Russian repertoire. Our new pieces will be performed alongside the works that inspired us at concerts throughout the festival.
My piece will be performed during the lunchtime concert on Monday 8th May at 12.45 at the Crucible Theatre Studio, Sheffield by members of Ensemble 360, the resident ensemble with Music in the Round. The other two pieces in the programme are HAYDN String Quartet Op.33 No.1 and TANEYEV String Trio in E flat Op.31.
As part of the process, and to engage our potential audience (!), we are aiming to document the writing process and offer some insight into the make-up of the pieces we compose. We were recently interviewed by Matt Hunt, the clarinetist with Ensemble 360, who wanted to hear our initial thoughts and to reveal a bit about our writing practices: apparently, people want to know where you work, so I have uploaded a photo of my workspace (below). It’s much nicer than I made it sound! You can listen to the first set of podcasts here by following the link on this page: Music in the Round website: Platform 4 commissions
Interestingly; we were asked to come up with a title for the brochure long before composing began, and I came up with Focus Pull. As I mention in the interview with Matt, my initial concept was the idea of pulling focus on ‘recognisable’ references from both quartets in my programme.
I decided straight away to write for string quartet (instead of trio, for instance), challenging myself to compose a contemporary piece for a traditional line-up. I started by looking through the Haydn and Taneyev pieces, extracting bits I liked the look of (for texture, dialogue, rhythm, melodic contour etc.) and put them on scrapbook pages (see below). One sheet shows a circled melodic fragment taken from the first violin part of the Haydn quartet (3rd movement). I decided to try working with this melodic fragment, treating it like a tone-row (using the pitches in the exact order they appear in the original melody, but with different durations so they are not easily traceable, aurally). So far, this is offering an interesting way of working, and I’m enjoying finding ways to combine this with typical Haydn-like textures (I’ve abandoned Taneyev). The Russian connection is a bit weak, however: Haydn merely dedicated the set of Op.33 quartets to Grand Duke Paul of Russia. They are sometimes referred to as the ‘Russian’ quartets…
I’m still working on the overall structure, however, and trying not to overwhelm a five-minute piece with too much material. I think this is the real challenge: for there to be a connection to a piece written by another composer, but for me to maintain my own compositional voice and write the piece I want to write. Currently, I’m fighting the urge to delete what I’ve done and start again (but how I really intended it to be…). Aargh!