Excited for this! I have composed a fairly bizarre piece – Folies – based on text from a poem by Aldo Palazzeschi. Well: you can’t take yourself too seriously! Rehearsals begin shortly…
This is a recording of one of two new pieces I wrote for the Platform 4 Drinking & Hooting event on Saturday 21st May. The solo flute is played by Rachel Shirley, and the blown bottles by the Platform 4 Ensemble. I’m quite pleased (shock, horror)…
Got to get my head down and start working (properly) on my dance piece now, for this event:
Saturday 24th September 2016
Drama Studio, Shearwood Rd, Sheffield S10 2TD, United Kingdom
Four composers, one choreographer, a dancer and a soprano… an adventurous performance of new work in which sound embodies movement and movement embodies sound.
A Platform 4 collaboration with dancer Hannah Wadsworth and soprano Andrea Tweedale.
I was recently asked to write a piece for the British Viola Society for a ‘play day’ event on April 17th in Huddersfield. As a keen viola player and enthusiast, I couldn’t resist, and produced Leading Lines; a set of four short, contrasting pieces for viola ensemble or quartet.
The first piece is mostly in unison and introduces the idea behind the title of connecting ‘threads’ or ‘leading lines’ that pass between the parts. In art, ‘leading lines’ are lines that guide your eye through the painting or photograph and, in these pieces, the focus of attention is often passed between the four parts as suspended notes, parts of tunes or textural punctuation. In this respect, all parts are equally important although the majority of the more technically challenging melodic interest is given to Parts 1 & 2. The second piece is lively and rhythmic with constantly changing meter. The third piece capitalises on the wonderful sound a viola can make on the lower strings, with a slowly creeping and surging texture which evolves into beautiful solos with swelling accompaniment. The fourth piece demands bold, confident playing and is marked ‘Hack & slash – violent!’. This piece requires a good, strong sense of rhythm and an attacking playing style.
Parts 1 & 2 have occasional Solos (one player) where the parts divide. If performed by quartet, the Solos must be played. It may be necessary to limit the number of players per part during Solo passages if there is a large ensemble. Parts 3 & 4 are easier and demand less position shifting.
Duration: approximately 10 minutes
Difficulty: approximately ABRSM Grade 6 – 7
You can see a preview here: Leading Lines – Full Score (selected pages)
Cost: £10 for score & parts (digital download)
Composing for Beginners: a six week course for adult musicians*
Wednesdays 7 – 9pm ***Starts 8th June***
Learn how to compose a short piece from scratch with step-by-step guidance and support and finish your first composition in six weeks! All work is done in the class (no homework!).
Classes are held at Jenny’s home in S11.
*No previous composing experience necessary.
More details on website
‘A Day with Platform 4‘ events:
Thursday 12th May
11am Talk: How We Make Our Music I will be presenting my piece [S]urge and will demonstrate how I often use drawing to generate ideas and how, in writing [S]urge I didn’t have to develop the notation much beyond that in order to get the result I wanted. I will also explain more about how I utilise stage placing in my work, the aural outcomes, and how musical performances can become more theatrical as a result.
2 – 5pm Workshop: Come and Compose Get creative and compose a new piece of music with support from Platform 4 composers Jenny Jackson, Tom Owen, Chris Noble and Tom James.
More details here:
You can probably guess by the lack of blogs lately that I have been writing music, not words. The focus of my efforts – a new piece for the (inaugural) Classical Sheffield Festival of Music: [S]pan for flexible ensemble. It was performed by Platform 4 on 23rd October in Sheffield’s fabulous Winter Gardens before a more formal concert in Sheffield Cathedral in which my Lament for solo cello with off stage viola, double bass and vocal ensemble, was given its second performance with Charlie Hardwick playing the solo.
“A highlight was Jenny Jackson’s ‘Lament’, a mournful aural mirage that played with our perceptions of listening whilst simultaneously being very listenable. Notes continued elsewhere when the lone cellist onstage had stopped playing them. The music was coming from behind us too. A wonderful use of the Cathedral space, it also highlighted the importance of attending live music events. In another venue or on record, this would have been a completely different experience.”
Nat Loftus, Now Then magazine 09/11/15
I have been preoccupied with hiding players and altering stage placings for a while now and, as Nat Loftus has recognised in her review, I rely on live performance for my pieces to be wholly understood. In Parabola (2012) – written as part of a collaborative installation piece with the sculptor Gillian Brent and Platform 4 (shown at the Hepworth, Wakefield) – two horn players performed from numerous positions during the performance, inside and outside the galleries, automatically becoming integral to the visual aspect along with the sculptures. These were also moved into different positions throughout the performance and so the audience experienced variations in the visual ‘theatre’ at the same time experiencing changing aural effects as the players moved closer together or further apart.
In [S]urge (2012) I developed the idea of altering the audience’s ‘reading’ of the performance by permanently hiding the two horn players with one placed Stage Left and the other Stage Right. A group of string players took centre stage providing both aural and visual interest (although the simple fact that horns are timbrally very different to strings meant that they forced themselves into the aural foreground much of the time). Being out of view meant that their unexpected surging/emerging was even more effective and unsettling, as things unseen but heard often are.
In Tableaux (2012) I produced a light-hearted sequence of five ‘sounding’ tableaux where the visual was more-or-less static and the sound was produced off stage on inappropriate instruments where the music was at odds with the visual. This resulted in a theatrical (and comedic) outcome. In Sanctum (2013) the humour was more subtle and the musical outcome far more important. Players were positioned, unnoticed, around the performance space encircling the audience, leaving a solo piano player centre stage to mime throughout the performance (the internationally renowned pianist, Philip Thomas! – a bit of an ‘in-joke’, in other words…). He therefore, provided a visual spectacle but added nothing to the aural effect other than to confuse the listener by sheer coincidence of a perceived conflation of the ensemble’s sound and the pianist’s physical movements.
My new piece [S]pan also employs the idea of the ‘unseen’ performer but, rather than heightening the theatrical aspect of the performance as in Sanctum or Tableaux, the stage placing merely enables the desired panning effect to work. Once I knew that the performance was to take place in Sheffield’s Winter Gardens I decided I wanted to occupy the space, rather than just perform in it. The islands of plants with walk-ways provided ideal places for displaced performers, and the live acoustic was an invitation to fill the space with sound. The general public were free to walk around and could potentially experience the resulting sound in many ways, depending on where they were standing.
The spatial positioning produced a very practical problem in co-ordination. As the Wind and Brass players would not necessarily be able to see each other the only way to do this was by using timers, with certain events set to start and end at specific points. I divided the Wind and Brass players into two Groups, with one Group positioned on the left of the main performing area and the other, on the right. This meant that I could give both the same material to perform but control the timings of their entries. The opening gesture presents the germ of the piece as two, pre-selected, solo players pan the same pitch across the entire span of the space. As in [S]urge, I chose to position the string group in the centre of the performing area to provide a visual focus but, in this piece, they also become a central point of reference for the panning material to cross. I have posted the score here for your perusal…:
I’ve posted the recording here (the sound of chatter and footsteps reveals it’s ‘liveness’!) – of course, you won’t experience the panning effect and, therefore, you will only be getting ‘some’ of my piece…
Is it time to find a new trick?… Answers on a postcard.
Sheffield’s music scene is all of a buzz lately with the launch of the Classical Sheffield Festival of Music website. http://www.classicalweekend.com
I am currently working on a spatialised, site-specific piece for one of the Platform 4 ‘Pop Up’ performances in the Winter Gardens on Saturday 24th. http://www.classicalweekend.com/event/pop-up-performances-1
There will be another chance to hear my ‘Lament’ performed by Charlie Hardwick in the Platform 4 concert in the Cathedral, also on 24th. http://www.classicalweekend.com/event/made-in-sheffield-new-music
Platform 4 are joining up with Manchester Ensemble, Sounds of the Engine House, to perform a selection of Minimalist masterworks as part of the University of Sheffield concert series on Sunday 25th in Firth Hall. http://www.classicalweekend.com/event/new-york-counterpoint
Tickets are available now. See website for details…
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Make music part of your life
thoughts (and the odd rant) from a gallery owner ...
I sail only for the counterpoint.
The time and lifes of Chris Noble; composer, jazz musician and occasional digresser
My activities as composer/contemporary musician.
I am a composer (yikes)