More Hands: Patrick Harrex

We’ve got a concert coming up tonight (!) at the Friend’s Meetinghouse (in Brighton) where we’ll be recapping some of our favourite pieces of the 2013 season and also playing some pieces by composers from the New Music Brighton collective.  We’re gearing up for the concert by asking the NMB Composers a series of questions, so you can get a feel for who they are and what they do. The fifth and final interview in our series: Patrick Harrex.


Thanks for being with us Patrick.  First up, are you a Brighton composer or a composer that lives in Brighton?
The latter – I’ve lived here only since 1979 so need to stay around a bit longer to meet the naturalisation criteria!

Could you give us a little insight into how you compose?  (Do you have a set time you work at?  Do you write at the piano?  Etc…)
Ideally I like to set aside mornings (8am to 1pm) for writing, but too often other things have to take priority. I’m a hopeless pianist so can’t, and don’t want to, compose at the piano – it irritates me that so many young (student) ‘composers’ think they can sit at a keyboard and play around until something turns up. Mine is the old fashioned approach – sitting at my desk with paper and pencil. Inspiration often comes from images/ paintings or words – even now a blog! If I am travelling – long or short distances – I usually take a note book and pencil with me so I can jot down ideas at any time. Trains are great for this – but I do sometimes get funny looks, and occasionally get into interesting conversations.

When you compose, who do you think of most: the performers, the audience or other composers?
Performers and audience on more or less equal terms – thinking about how to draw each closer to the other. Very occasionally, for example in my Voices and Instruments, the audience is invited to join in the performance – something I’d like to explore further.

What is your favourite piece of your own work and why?
I think of my pieces a bit like my children: I don’t have favourites but am very fond of them all – and once they have reached maturity and go out into the world, they are on their own!

Do you consider blogs (such as this one) a useful way of interacting with your audience?
I have no idea – this is the first one for me, so let’s see what happens. But see also (2) above!

Have you ever had an experience similar to Witold Lutoslawski’s: When he heard John Cage’s Second Piano Concerto on the radio, the encounter changed his musical thinking and ushered in a new creative period (the first result of which was his Jeux Vénitiens)?
Hearing my tutor at York, Robert Sherlaw Johnson, playing the piano music of Messiaen and Boulez opened my ears to the sounds and thrill of contemporary music – a formative experience (1965). More recently, walking on the Downs, near Firle beacon, on a very windy day and quite alone apart from the sheep, the sound of the wind whistling through metal five-bar gates was amazing – rather like an organ (flute stops) but most mysterious. An effect I have since returned to and echoed in some of my pieces.

Describe Riot Ensemble’s Artistic Board Member (and NMB composer and performer) Adam Swayne in three words.
(apart from: ‘Not enough words’?) – Inspiring, encouraging, convivial

Have you ever participated in a Riot?
No – but I have experienced the after effects (Paris, 1968).

Thanks very much Patrick!  We’re looking forward to your music tonight!

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