Date: Saturday 3rd March | 8pm
Venue: The Chapel, University of Chichester, (PO19 6PE)
Date: Sunday 4th March | 4.30pm
Venue: The Chapel, University of Chichester, (PO19 6PE)
Aaron Holloway-Nahum: You’ve written us a new pieced called Seven heavens (of different heights (and depths)). Could you tell us a little bit about the inspiration behind it?
Bára Gísladóttir: The piece deals with seven layers of different dimensions, both time-wise and texture-wise – that is – both vertical and horizontal (and everything between those).
AHN: In addition to composing, you play the double bass. This new piece includes double bass. Do you ever perform in your own compositions?
BG: Yes, I do! I mainly perform my music solo, but have also performed some of my compositions with different ensembles.
AHN: We’ve been enjoying listening to your new album, Mass for Some in which you play double bass and sing. Can you tell us a bit about your work as a performer, and how it influences your compositions?
BG: I think I am a much more diverse performer than composer, and enjoy performing various types of new and old music. Performing my own music vs. others’ is something I experience as two very different things, mostly because I feel more freedom and a stronger link towards my own stuff. It is simply more personal.
I think the most characteristic influence when it comes to my compositional approach as a performer is that I’m constantly occupied with the performer while composing – somehow automatically leading to effects of motion and breath. I guess one could say that I compose “through” the performer most of the time. However, the same applies to my compositions as performing, writing for others vs. myself is something quite different – primarily I try to be more clear when it comes to writing for others, I take more time to considerate every little detail. When I compose for myself, I don’t spend too much time on expressing details, i.e. via notation, since I already know what I want. Hence, I’m not sure if the music I write for myself is on a sufficient format for others to perform.
AHN: We first came into contact at Nordic Music Days in 2017, where we played Suzuki Baleno, a work with a strong autobiographical inspiration. Do many of your works take events and/or memories as starting points?
BG: Actually, I think Suzuki Baleno is my only piece that is built on a truly autobiographical experience. Mostly, I build my pieces on ideas about space, mass and layers. I always try to find every possible aspect of an idea/word/event and try to place all of those aspects into an overall unity, that becomes a musical piece.
AHN: Now that you’ve finished this piece for us, what’s next?
BG: I’m working on a piece for solo saxophone, string quintet and three percussionists, commissioned by my friend Anja Nedremo, a Norwegian superhuman and outstanding saxophonist. The piece is called Yung Leo, and is built on young love, Prokofiev’s Romeo and Juliet, young Leonardo DiCaprio, lions, the zodiac sign Leo, thugs, Yung Lean, milestones and more.
AHN: We certainly look forward to hearing that, and to seeing you in Iceland!
MJ: While I feel like my answer to this changes every day, I think what has had the greatest impact on me in the past year or so has been meeting the singer, advocate, and entrepreneur Carla Canales. I have been very fortunate to get to know her as a close friend, mentor, and collaborator, and learning from and working with her has truly helped me reimagine my practice and career as one that not only strives for artistic truth and authenticity, but also social impact and awareness. Among her many activities, she is the founder and CEO of The Canales Project, a non-profit founded to create connections through culture, which I feel provides a very conscious and organic platform for artists to address social issues.
Additionally, she has really been the first collaborator to encourage me to sing in my work, which at first was a very scary step but now has truly been life-changing for my practice and output.
MJ: Lately in many of my instrumental pieces I have been trying to confront my musical ‘guilty pleasures’ head on. These pleasures range from lots of reverb and constant rhythmic pulse, to wanting to quote every Florence + The Machine song …. With my work for Riot Ensemble, I wanted to wrestle with my love of downbeats, and to try to explore what would happen if the downbeat shifts from super obvious to super subtle, and then perhaps even inaudible at the end, allowing for a ‘pushing and pulling’ of it overall.
I think what surprised me most when composing it was how nervous I was and still am about the orchestration of it. I always feel incredibly insecure about orchestration, specifically because it’s so hard for me to tell how exactly it will sound; and once I do hear the music live it can sometimes be too late to make any major changes.
MJ: My composing routine generally follows the motto ‘anywhere and everywhere … with a coffee – light Starbucks frappuccino if possible.’I almost always compose directly onto my computer, and if possible with my toy organ by my side. When I’m not travelling I generally try to compose in the morning, as I feel that’s when I’m most focused and it’s overall a great way to start my day. When I am travelling I will compose anywhere – on the plane, in the train, and so on. My favourite practice is to find a Starbucks to camp out at (preferable seat near an outlet with nice window view) and binge on light frappuccinos.
MJ: Along the lines of the previous question: right now my fantasy piece would at least involve myself singing and performing on the organ, most likely in a very resonant church or similar venue as I very much love reverb. I would also envision this as perhaps a collaboration with a lighting and/or projection designer, to add to the theatrics of the work and performance space.