29 August 2018
Here are some great photos by Kinagram Limited of Ensemble Thing’s recent performances of Emily Doolittle’s opera Jan Tait and the Bear, which I conducted. In August we gave six performances of the piece at Summerhall, Edinburgh, as part of the 2018 Made in Scotland Showcase.
The production starred Catherine Backhouse as Jan Tait, Brian McBride in a multitude of roles, and Alan McHugh as the narrator. It was directed by Stasi Schaeffer.
The band, costumed and on stage throughout, also doubles as the chorus and has some tricksy singing passages and speaking roles to perform. August’s performances featured Alex South (clarinet), Aileen Sweeney (accordion) and Emily Walker (cello).
Made in Scotland supports Scottish artists to bring work to the Edinburgh Festival Fringe and to take advantage of international opportunities received from performing at the festival. Since 2009, the showcase has featured over 200 shows.
8 August 2018
Following two previous appearances at the Made in Scotland Showcase at the Edinburgh Festival Fringe (with 2014’s Replaceable Things and 2015’s Independence), I’m very happy to say that Ensemble Thing, the new music group I direct, will return to Summerhall as part of the Showcase to perform Emily Doolittle’s delightful opera Jan Tait and the Bear.
Jan Tait and the Bear had its origins in 2010 when Emily visited Shetland for the first time and wrote an opera based on the local tale of Jan Tait: when he is overcharged by an unscrupulous tax collector, Jan Tait strikes back. He is transported to Norway to account for his crimes before the king, but instead of meeting his fate, he meets a fearsome bear who needs Jan as much as Jan needs him.
Ensemble Thing premiered the work at the CCA, Glasgow, in October 2016 and we’re delighted to reunite our original cast and production team for this run of six performances in Edinburgh. The opera is directed by Stasi Shaeffer and stars Catherine Backhouse as Jan Tait, Brian McBride in a multitude of roles, and the show is narrated by Alan McHugh. It’s been great fun to revisit this work!
Ensemble Thing will perform Emily Doolittle’s Jan Tait and the Bear at Summerhall, Edinburgh, on 8th, 9th, 13th and 14th August 2018 at 1pm, and on 15th and 16th August 2018 at 10:30am. Tickets are available here.
21 March 2018
In celebration of Claude Debussy, who died one hundred years ago this week, the University of Glasgow is holding a memorial concert this Thursday, 22nd March at 7pm. The performance includes Debussy’s three completed sonatas from Six Sonatas for Diverse Instruments, a projected cycle of pieces that he was working on at the time of his death. The University has commissioned new works from composers Adam Gorb, Martha Sullivan, Gregor Forbes, Etienne Kippelen, Gary Carpenter, Drew Hammond and myself, each scored for the proposed instrumentation of one of the unwritten sonatas. My piece, Correspondence, is a short meditation on how technological advances in the previous century have seemingly contracted time and distance. It’s scored for the unusual combination of oboe, horn and harpsichord with samples from recordings of Debussy playing his own compositions.
The Claude Debussy In Memoriam concert will be performed by the Royal Scottish National Orchestra chamber players at the University of Glasgow Memorial Chapel, 7pm Thursday 22nd March 2018. The event is free and unticketed.
22 September 2017
This article originally appeared on Sound and Music’s The Sampler blog.
It’s hard to talk about climate change. It’s an ongoing worldwide emergency happening in slow motion. It can often feel too abstract to contemplate, particularly here in the UK which has so far escaped the most extreme consequences of changing climate. With a news cycle dominated by the more immediate concerns of Trump and Brexit, it’s easy for enduring issues to simply become noise. When climate change is reported upon, it’s usually in relation to a terrifying disaster or dire prediction about decades down the line, or presented as unrelatable, intangible data (I mean, what does a tonne of carbon even feel like?).
I’m one of those composers that likes to write about stuff – total abstraction has never been particularly interesting to me. After writing pieces about specific places and our (built) environment, the progression to thinking about how issues of sustainability could be represented in my music felt like a natural development of my practice. My most recent piece, performed this week by Red Note Ensemble at the Lammermuir Festival, is a consequence of this change of thinking.
My initial ideas for the piece formed after reading press reports in April about the disappearance of Slims River in the Yukon, Canada, through “river piracy”. River piracy is when the water destined for one watercourse is naturally diverted into another, a process which usually occurs over long geological epochs – thousands of years. However, the once-mighty Slims River disappeared in just four days in Spring 2016, a geological blink-of-an-eye. The glacier that fed the river had receded and suddenly its meltwater could only flow into the neighbouring Alsek River, leaving the Slims to run dry. This act of river piracy is the first to be attributed to man-made climate change – scientists studying the phenomenon calculate that it is 99.5% certain that anthropogenic global warming is to blame for the river’s disappearance. The landscape that formerly hosted the river is being transformed beyond recognition as clouds of dust from the dried riverbed are whipped into the air by the wind.
Events like this are dramatic enough to make the news cycle, but creating artistic depictions of the worst effects of changing climate – rising sea levels, intensified hurricanes and the like – is problematic: whilst these depictions can be potentially spectacular, apocalypse-porn can only make our actions seem insignificant when compared to the environmental forces involved. This approach also doesn’t necessarily help us understand the nature of slow change that affects our world. Therefore, rather than depicting the sudden death of the Slims in my piece, I wanted to write about how we come to understand rivers (and, by extension, the rest of the world around us) and long-term change.
Limnology is the scientific study of inland bodies of water, and the key to writing this piece (titled Limnology (Slims River)) was my discovery that scientists use sound to take key measurements of flowing water. By using Acoustic Doppler Current Profiler (ADCP) devices, scientists can measure the speed and direction of currents, the distribution of sediment, and other aspects: ADCPs emit bursts of sound, which are too high for humans to hear, and then “listen” to the echoes. Due to Doppler shift (the same effect that makes a police car’s wailing siren seem to drop in pitch as it speeds past us), by comparing the pitch of the emitted sounds with their reflections, data about the water can be collected. I do not use genuine data in this piece, instead small drops in pitch become the musical building blocks of the work. Therefore, rather than being a traditional sonic portrait of a river, I see this piece as a celebration of creating knowledge, empiricism, and scientific endeavour. At a time when the US government is removing climate data from its websites and defunding the study of this climate change “hoax”, I feel this celebration is timely.
As musicians, it is unlikely that we can contribute to emerging climate science or develop new sustainable technologies. However, the move towards a sustainable future requires more than this – there also needs to be a significant cultural shift, and “culture” is what we do. Arguably, all art contributes to the grand narratives we tell about ourselves, a constructed reading of our society. No one single piece of music will ever likely be responsible for a significant change in public perception, but when creating art about sustainability we’re not igniting the spark of change, we’re helping to lay the bonfire.
21 September 2017
On Friday 22nd September, Red Note Ensemble will perform a new work of mine, Limnology (Slims River), at the Lammermuir Festival. There will be two complete performances in the afternoon, one in the 2:30pm concert and one in the 4:15pm concert at Eastfield Farm, Whittingehame, and I’ll also be introducing excerpts from the piece at Tyninghame Village Hall at 12 midday.
I wrote the piece about the once-mighty Slims River in the Yukon, Canada, which disappeared in just four days in Spring 2016. The glacier that fed the river had receded and suddenly its meltwater could only flow into the Alsek River, leaving the Slims to run dry. This act of “river piracy” was the first to be attributed to man-made climate change.
Limnology is the scientific study of inland bodies of water. Drawing on the acoustic techniques used by scientists to measure water flow, this piece is a reflection on the study of rivers, their place in our culture, and the changes they portend.
20 September 2017
As September’s Guest Editor of Sound and Music’s The Sampler blog, I commissioned this piece from Gemma Lawrence and Mike Elm of Creative Carbon Scotland, who explore the role that music and the music industry can play in addressing climate change, not only in how it works but what it does.
“Look at mother nature on the run, in the 1970s” so sung Neil Young in the title track of his double platinum selling album “After the Goldrush”. If Mr Young thought the situation was in a perilous state in the 1970s then the intervening years have hardly seen a turnaround. It has been estimated by the WWF that wildlife globally has declined by 50% since the 1970s. The causes for these declines are various and complicated but they have been driven by habitat loss and degradation, hunting and fishing, pollution, disease, invasive species, and – Creative Carbon Scotland’s pet ‘wicked problem’ – climate change. With this in mind it’s not about who needs to fix this problem, it’s about how we can all play our part and musicians and the music industry are no exception.
The challenges associated with sustainability and climate change are widely recognised as wicked problems: they are multi-faceted, encompassing a vast range of factors and stretching across global and generational boundaries. In short, they do not come without compromise and difficult decisions. This requires us to think outside of current paradigms, and find new means of understanding and changing the world, towards more just, sustainable societies.
The arts and culture have an essential role in achieving the transformational change to a sustainable future. Music, and the cultural sector more widely, relate to sustainability in two key ways through: what they do and how they do it.
The how, in the main, is the easy part to understand and – with some creativity – to take action towards sustainability. Take music festivals for instance, they can (and in some cases do) take action to improve their environmental sustainability through considering how they power themselves, whether they select local sustainable food providers, where the beer comes from, how they avoid creating waste and – and from a climate change point of view this is key – how everyone and everything gets there.
The less visible impacts of transport – of audiences, artists, crew and equipment – for a music festival is responsible for the lion’s share of its carbon footprint, on average some 80% of a festival’s carbon emissions are from audience travel. The ‘Fields of Green’ research project, which Creative Carbon Scotland were part of, looked at how music festivals and their audiences can and do tackle their carbon footprint as well exploring the (un)sustainability of music touring practices through songwriting and maps visualising festival touring patterns.
The how of course extends to all aspects of the music industry from how artists travel, how music venues run themselves, to the instruments and technologies we use to create and ‘consume’ music. Each of these has an associated carbon cost, and a range of more or less sustainable options. But is this where the primary role for the music industry in affecting the transition to sustainability lies?
When it comes to the music industry and the move towards sustainability, it’s really in the ‘what’. The carbon emissions of the UK music industry have been estimated at roughly 540,000 tonnes, this was back in 2010 and was equal to about 1/1000th of the UK’s carbon footprint at the time. Music can and does speak to people. Everyone from politicians, CEOs, school kids, town planners, accountants and designers, all listen to music. Equally, climate change affects all of us. Herein lies music’s strongest potential.
Tackling climate change is about politics, technology, finance but mostly it’s about people. There is a unique role for music in connecting with people on an emotional level, communicating complex ideas, its ability to reach wide and diverse audiences and opening up alternative spaces for dialogue and conversations to happen.
This last point, about conversations is one from personal experience. The somewhat on the nose ‘4 degrees’ by ANOHNI, released on the eve of the United Nations Climate Change conference that led to the landmark Paris Agreement, was a catalyst for conversations with people that rarely think or talk about the topic of climate change and the realities of something as benign sounding as a 4 degree temperature rise. This helped to build new understandings of how we perceive our roles in addressing the challenges it poses. Music not only speaks to individuals, it also shapes society.
At Creative Carbon Scotland, we see a vital role for music, and indeed all art forms, to be actively involved contributing to this cultural shift – shaping of the discussions and decisions which will impact upon the environmental sustainability of societies, now and into the future. As Jaques Attali said, “music is prophecy… It makes audible the new world that will gradually become visible”.
Useful links for finding out how you can be involved and inspiration:
20 September 2017
As this month’s Guest Editor at Sound and Music’s The Sampler blog, I was asked to make a playlist of some sounds I’ve been listening to recently. So, here it is!: https://soundcloud.com/thmsbtlr/sets/sam-september-playlist
14 September 2017
This month, I’m Guest Editor of Sound and Music’s The Sampler blog. Here are my top picks for live events in September.
Date: 15th September, 7:30pm
Venue: Seven Arts, Leeds
This is an intriguing series of concerts: Jacob Thompson-Bell has curated a programme that promises to somehow respond to the architecture and atmosphere of each performance location. Apparently the work can be “noisy, rough, serious, refined, gentle, playful”, so Jacob is clearly expecting a mixed crowd. A blend of improvised and prepared work, the performances use a new improvisation book by Claudia Molitor, keyboard works by Thompson-Bell himself, and musical sketches by Dan Kidane, Michael Betteridge and Ben Gaunt (who also plays piano here). Read More
2. TOM PHILLIPS Irma: an opera
Date: 16th September, 7:30pm
Venue: South London Gallery, Peckham Road, London
In 1966, Tom Philips began making art based on a forgotten Victorian novel that he bought from a second-hand bookshop. Through a process of cutting, obscuring and decorating the text, Philips created A Humument, a life-long project with many iterations. Irma is his “new” opera (it was begun in 1969), which shares source material with A Humument, and is described by its creator as “a recipe book for a stage event; with all the ingredients of traditional opera, dance episodes, drinking chorus, mad scene, erotic enactment, and the many variations on love and death”. Read More
3. It’s all True
Date: 21st September, 7.30pm
Venue: Cafe Oto, Ashwin St, London
For another take on collage and intertextuality (ahem…), take It’s all True performed by Object Collection: composer Travis Just and writer/director Kara Feely have created an opera based on obsessively reproducing the sonic detritus of gigs by post-hardcore band Fugazi: squealing feedback, inter-song ramblings and sporadic drum outbursts scored for four voices, four electric guitars/basses and two drummers. Read More
4. System Restart: A new generation of women composers
Date: 8th October, 7.30pm
Venue: Kings Place, London
There’s so much to love about this programme by Icebreaker – it contains so many interesting compositional voices and wonderful sounds. The programme features new music by Jobina Tinnemans, Kerry Andrew, Elizabeth Kelly, Linda Buckley and Anna Meredith, and offers an opportunity to hear Kate Moore’s excellent Mathijs Vermeulenprijs-winning The Dam, based on the “not quite polyrhythmic” sounds of a choir of cicadas, crickets, frogs, and birds at a waterhole in the bush. Read More
3 August 2017
Blàthan Briste | Broken Flowers, a collaborative exhibition by Alec Finlay and Hannah Imlach, opens this coming Monday (7th August) at Taigh Chearsabhagh Museum & Arts Centre on North Uist. The show features the latest iteration of Aeolian Survey, my ongoing project with Hannah that began whilst on residency at the Banff Centre last year. Aeolian Survey Proposal (Glasgow) is a detail from a hypothetical installation comprising a network of aeolian harps that use transducers to generate an electronic soundscape from wind, creating a synaesthetic mapping of potential energy in any location.
Blàthan Briste | Broken Flowers explores themes of energy independence, localism, and technology, from the Neolithic quernstones (hand-mills) of the islands to the MoD rocket range on Uist and St Kilda, and the renewable energy arrays of the future. It has been created in collaboration with Lila Matsumoto, Hanna Tuulikki, Chris Watson, Maoilios Caimbeil, and Dr. Fraser MacDonald.
Blàthan Briste | Broken Flowers is on from 7th August to 28th October 2017 at Taigh Chearsabhagh Museum & Arts Centre, Lochmaddy, Isle of North Uist. There is a preview at 7pm on Saturday 5th August and a series of launch events between the 7th and 9th August (see here for details). Entry is free of charge.
31 January 2017
Robert Irvine’s recent release on Delphian Records, Songs and Lullabies, which features one of my pieces, has been nominated for a Scottish Award for New Music. This is the inaugural year of the awards, an endeavour of New Music Scotland. Songs and Lullabies has been nominated in the Recorded New Work category, and Robert also receives a nomination for New Music Performer of the Year.
Songs and Lullabies is now available to buy on CD and download.
UPDATE: Robert won! Well done, Robert!
19 January 2017
I’ll be giving a talk next Monday (23rd January) at the Royal Conservatoire of Scotland about some of my recent work. All welcome! Tickets are available from the RCS Box Office.
6 October 2016
1 October 2016
Next week I’ll be conducting Ensemble Thing’s latest project, a new opera by Emily Doolittle called Jan Tait and the Bear. Based on a story handed down by oral tradition since medieval times, this new comedic chamber opera tells the story of Jan Tait, a rugged Shetlander who is always ready for an adventure. When he is over-charged by an unscrupulous tax collector, Jan Tait strikes back. He is transported to Norway to account for his crimes before the King, but instead of meeting his fate, he meets a ferocious bear who needs Jan as much as Jan needs him. This Ensemble Thing production features Alan McHugh (The Garden, Limmy’s Show), Catherine Backhouse (EIF, St Magnus Festival) and Brian McBride (Scottish Opera). Directed by Stasi Schaeffer, Jan Tait and the Bear blends truth, fantasy and rough, earthy humour and will appeal to both music and folklore fans of all ages. I’m very much looking forward to the performances.
Ensemble Thing perform Jan Tait and the Bear on Thursday 6th October (8pm) and on Saturday 8th October (1pm) 2016 at the Centre for Contemporary Arts, 350 Sauchiehall Street, Glasgow. Tickets can be purchased here.
14 August 2016
For the next 29 days, you can catch a preview of a short piece of mine, Lament, from Robert Irvine’s new Delphian CD Songs and Lullabies: new works for solo cello, courtesy of BBC Radio 3’s Record Review programme. Those in the UK can listen to the programme on iPlayer.
24 May 2016
I am happy to announce that I recently successfully defended my PhD thesis, and that my doctorate will be awarded in due course by the University of St Andrews. Titled Composition as the creation of a performance, music as a vehicle for non-musical thought: six new works, the thesis comprises pieces composed between 2008 and 2015 and a written commentary. It was examined by composers Professor Joe Cutler and Nicole Lizée.
I would like to extend thanks to the many people who generously contributed to the work in this thesis: Special thanks to Gordon McPherson, my principal supervisor, for his unwavering support, encouragement and difficult questions. Thanks also to: my second supervisor Yannis Kyriakides; Alistair MacDonald; Stephen Broad, Anna Birch, Celia Duffy and the Research Degrees Committee of the RCS; Leverhulme Trust.
Whilst creating this portfolio of compositions, I had the pleasure of working with many fine musicians, ensembles and institutions, each of whom made an indelible impression on my work. Thanks in particular to: John Harris, Robert Irvine and Red Note Ensemble; Jenny Stephenson, Pete Furniss and Yann Ghiro; Timothy Cooper, Matthew Whiteside and Edit-Point; Darragh Morgan, Roland Roberts and Kay Stephen; Angharad Cooper and Sound and Music; Astrid String Quartet; Laurie Irvine and DotBot; John De Simone, Christine Cooper and Ensemble Thing; Ben Twist, Gemma Lawrence and Creative Carbon Scotland.
I am grateful for the support of many colleagues at the RCS, particularly Bethany Whiteside and Ben Fletcher-Watson, and composers Oliver Searle, Colin Broom, J. Simon Van Der Walt and Shona Mackay. Outside the RCS, I am grateful for the support and suggestions from the following composers: Alasdair Nicolson, Andris Dzenitis, David Lang, Johannes Maria Staud, Alla Zagaykevych, Pär Lindgren, Richard Ayres and the Mazsalaca composers.
Finally, I would like to express my gratitude to friends and family for their continued support, encouragement and interest. Special thanks, with love, to M, K, L and H.