A few moments with Michael Cryne

We are hugely looking forward to giving the premiere of Michael Cryne‘s five-movement work Celia’s Toyshop at our concert on February 16th at Brixton East 1871, 7.30pm.

Michael lives and works in London and is currently pursuing doctoral study in composition under the supervision of Mark Bowden and Helen Grime at Royal Holloway, University of London, having previously studied composition at the Guildhall School of Music and Drama.

In this short interview Michael discusses his work with Adam and whets all of our appetites. We hope to see a great crowd on February 16th!

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Welcome Michael, and thank you for giving Riot Ensemble the premiere of your piece ‘Celia’s Toyshop’. I believe there’s a special dedicatee in the title?!

 

Thanks Adam, I’m hugely excited. This will be a really special one for me. As you’ve mentioned, the collection of pieces were written for my daughter Celia. I’ve been writing them on and off in between other things. She won’t make it to the premiere, she’s only 2, and generally prefers youtube videos of people opening shiny things.

 

Your piece is for ‘Pierrot ensemble plus percussion’. Has Schoenberg influenced any other aspects other than the instrumentation? 

 

Oh, I use post-serial techniques all the time, so in that sense absolutely. ‘Puzzle Book’ uses a ciphered version of Celia’s full name as a tone-row, for example.

 

There are five movements with really imaginative titles such as ‘Clockwork Nightingale’ and ‘Neon Butterflies’. Are you telling some (famous) stories in your piece, or are you just encouraging imaginative listening?

 

Well, ‘Clockwork Nightingale’ is a combination of a birdsong transcription and a mechanistic rhythmic pattern, so the title in that instance shaped elements of the piece. Whereas ‘Neon Butterflies’ was just a youtube video we were watching together. But yeah, ‘imaginative listening’  is a nice way of putting it. I don’t think any of the pieces tell stories in a programmatic sense.

 

So what’s the first note?

 

 

What’s the last note?

 

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And what’s the best bit?!

 

I really like ‘Marionettes’. It’s a quirky little dance, inspired by the jerky movements of puppets.

 

In 2017 Michael Cryne is also …

 

… currently working on a piece for Manchester-based ensemble Psappha, for solo alto flute and electronics. We’re recording that in April.

And if you happen to be coming to the Bournemouth Symphony Orchestra’s composers day on Saturday 18th Febraury, I’ll be presenting Celia’s Toyshop there with Kokoro, their new music ensemble. 

 

Many thanks Michael!