A few moments with Mirela Ivičević

On Saturday, we will be at St Nicholas’ Church in Brighton, giving the world premiere of Baby Magnify/Lilith’s New Toy by the Croatian composer Mirela Ivičević, one of our 2017 call for scores commissions. (Also on the programme: another call for scores commission by Sylvain Marty.) This week Mirela took some time out of her busy travelling schedule to answer a few questions from us about her work.

Mirela Ivečivić

Tim Rutherford-Johnson: Hi Mirela – thank you for speaking to us! Your piece Baby Magnify/Lilith’s New Toy has a really intriguing title that raises a lot of questions. To start us off, can you tell us what it means?

Mirela Ivičević: Thank you! The piece follows the contours of the Magnum Opus, the alchemical process of working with starting material to create the so-called philosopher’s stone, which according to Carl Jung corresponds to the transformative process of the psyche.

Originally, the Magnum Opus had four main stages: nigredo or blackening, a phase of chaos, shadow, of ‘massa confusa’; albedo or whitening, washing away of impurities; citrinitas or yellowing, ‘transmutation of silver into gold’, or symbolically, accumulation of wisdom based on previous experience; and finally rubedo or reddening, the wholeness, the phase in which the material (or a person) achieves their maximum potential. I believe these stages will be pretty identifiable in the piece.

It’s a ‘baby’ because it’s only about eight minutes long and because it is my first ensemble piece exploiting this concept consciously.

And the Lilith archetype is always around my pieces as a hidden narrative. Her seemingly frightening and uncompromising character and undisputable power comes closest to the energy of those strong women creators I am happy to see more and more in field of composition nowadays. In this piece Lilith is a baby, playing somewhat carelessly yet curiously with raw material to make sonic magic.

TR-J: Previous pieces of yours have confronted big themes. Sometimes in quite an ironic fashion, as in your musical heritage in Phantom no. 3 and the problem of CVs and musical biographies in Orgy of References. In others, you address more serious issues of diversity, co-existence and violent oppression. Can we expect anything similar in Baby Magnify/Lilith’s New Toy?

MI: Actually, Baby Magnify is one of a few pieces of mine whose direct background is of a non-political, ‘timeless’ nature. The way the composition is structured on a macro and even more on micro level I think still shows my ongoing fascination with trying to find a way for diversities to creatively coexist in a shared space. This is always a conscious, politically inspired choice, although it is probably rooted in my subconsciousness as well, being raised a multicultural family in a multicultural patchwork country. It also simply feels right.

TR-J: You were born in Croatia but now you live in Vienna. When did you move to Austria, and what encouraged you to move?

MI: I live kind of nomadically at the moment, mostly between my hometown of Split, Zagreb and Vienna, which I guess is not unusual for a musician nowadays. I moved to Vienna originally because I wanted to broaden my knowledge in electroacoustics as well as in composing for various media, as well as simply to move and experience the world from another point of view. It’s something which I’d recommend to any artist, there’s nothing more crucial and more rewarding then setting yourself into unknown, physically or metaphorically.

Vienna is an inspiring place and still one of the most artists-friendly cities in Europe. And it’s also reasonably close to the Mediterranean, without whom I wouldn’t want to live!

TR-J: In your biography you mention that your music makes use of the ‘side-products of media-dominated reality’. Can you explain what you mean by this? Will we hear any of these elements in your Riot commission?

MI: It means that rather then escaping the everyday sounds I get exposed to through various media, I use them as my starting material. I said ‘side-products’ as a polite alternative to trash. They are not always trash: some I find valuable as they are, but often I also use sounds I don’t value or whose original context or source affects me negatively. Sometimes I work deliberately with the sounds and their respective contexts, and such pieces are more theatrical. Sometimes though, as in case of Riot commission where I used, among other things, various human breathing gestures, I exploit them more hermetically: they are just a source of basic material from which to create something contextually independent.

TR-J: Your music is full of exciting and original sounds. How do you discover them? Do you experiment with the instruments, talk to players, or collect them from other pieces you’ve heard?

MI: I enjoy getting my hands ‘dirty’, so I have a bunch of different instruments I bought cheap on the flea-market. It is also a huge advantage that I’m a part of Black Page Orchestra, with absolutely amazing, adventurous musician friends with whom to discuss any idea I might have.

Ideally, I love writing not for mere instruments, but for musicians’ personalities. Working closely with a fellow musician, getting to know their character, preferences and even hidden talents opens so many additional possibilities, makes me more adventurous in terms of trying out new things and usually produces my best works.

But then again, sometimes it happens that you compose for people you haven’t yet met, and they sweep you off your feet with the magic they do with your score. Like a soulmate you first meet on Facebook.

TR-J: Now that you’ve finished this piece for us, what is next on your agenda?

MI: I’m currently working on an electronic solo set for a November festival of experimental music Sine Linea in Greta Gallery in Zagreb, a new piece for piano, electronics and video for pianist Alfredo Ovalles, and a theatre piece for children commissioned by the Jeunesse Austria to be premiered at the Mozarthaus in Vienna in April. The last one I am especially looking forward to because it approaches the youngest audience while dealing with a very sensitive, very personal and – unfortunately for a lot of kids – very current theme of exile and trying to find a place for oneself in a new, foreign land.

Another project coming up that I’m very excited about is new piece for percussion and solar panels. Friends of mine, the Croatian artists’ duo Lightune.G discovered a way to translate light into sound using solar panels – what they call luminoacoustics. I’ve already tried it out in a piece I made for them and percussionist Kaja Farszky last year, and it was an amazing experience that I can’t wait to continue. After that a new piece for Black Page Orchestra and music for Peter Tscherkassky’s experimental movie Dreamwork with Ensemble Nikel.

TR-J: Finally, if you could choose anything, what would be your dream line-up of instruments and/or voices to write for? And where would you like the premiere of this fantasy piece to take place?

MI: I love diversity, I love depths, I love noise, and I love bringing together extremes, so I guess it would be an ensemble of lots of different bass and soprano instruments, electronics, solar panels, probably also a skilful soprano/actress for some word play. And the dream venue for the premiere: definitely the abandoned submarine port from the Yugoslav era in Rogačić bay on the island Vis, one of the places I like to call home. At night, with the audience listening from boats on the sea. But of course, this is just a dreamy frame: what’s always more important is what a composer would fill this frame with.

TR-J: Sounds like a beautiful concept! Maybe one day … Until then, we look forward to playing Baby Magnify/Lilith’s New Toy in Brighton. Thank you, Mirela.

A few moments with Chris Roe

Today – 20th May – is the (first) culmination of our Les Citations project.  Programmed in memory of Henri Dutilleux, tonight’s concert is at The Forge, and we repeat the concert tomorrow in Cambridge.  Among an array of World and UK premieres, we are very pleased to be presenting Wired, by emerging English composer Chris Roe.  

ChrisRoe

We first played Chris’ music on our Transatlantic Collaborations concert last year, with his fantastic saxophone solo Schism, and it was my pleasure to ask Chris  a few questions about Wired – and his work in general – ahead of these performances.

Aaron HN: Hello again Chris!  It’s wonderful to have you with us for the Les Citations project and thank you for your new piece, Wired.  We commissioned this work for a project including Dutilleux’ Les Citations.  Did his music effect/influence you at all as you composed your new piece?

Chris Roe: Thanks! It’s fantastic to work with the Riot Ensemble, and wonderful to get a chance to engage with Dutilleux’s music, which I was first introduced to while studying with Ken Hesketh (also featured in this programme). I think two of the most persistent influences on my composition have been from jazz and early 20th-Century French music, so I was immediately drawn to Dutilleux and I’m sure that he’s in there somewhere in this piece!  But I think the most conscious link between Wired and Les Citations is in its ritualistic, almost obsessive quality.

AHN: This isn’t the first Riot Ensemble performance of your work, as we performed Schism last year in our Transatlantic Collaborations project.  Wired is another concise title for a piece – how do you go about naming your pieces?

CR: Yes, thanks for asking me back! I usually decide on a title about half way through the writing process, and I find it always propels me forward to finish the piece. I think the title has a crystallising effect for me a this stage, and makes what can be vague ideas more concrete and ‘meaningful’ in some way.  I think the directness of a short title is therefore as useful for me in writing the piece as for the audience.  I don’t want the title to spell out everything, so I’m always drawn to words with more than one meaning; in this case Wired reflects the relentless, ‘caffeinated’ energy of the music, as well as the constant, unbroken thread which I tried to join through the whole piece.

AHN: The Harpsichord is a rather unusual instrument in contemporary music.  Certainly not unheard of, but still generally unfamiliar.  How did you go about writing for the instrument?  Do you normally have a set routine around your composing? 

CR: It was certainly unfamiliar to me, and one of the most challenging things at first was to work how it would sit with the rest of the instruments.  I think my breakthrough came when working on the piece in a practice room at one of the schools I teach at (fortunately a student hadn’t turned up so I had a half-hour window!), and there happened to be a harpsichord sitting in the corner.  It was incredibly out of tune with one key playing several strings at once, but it made me see the instrument in a different light, as more of a percussion instrument.  I also find it fascinating how there is a definite attack at the start and end of the note, and the effect this can create when writing rhythmically for the instrument.

AHN: I think it would be fair to say that your music focuses on ‘musical’ parameters (pitch/rhythm/melody/form/etc…) eschewing extra-musical things such as noises (rustling paper, key-clicks, breath sounds, etc….)  But composers are surrounded – both in everyday life and more and more in the repertoire – by sounds.  Do they influence you and are they in any way significant for your compositional work?

CR: I don’t think I deliberately avoid extra-musical noise, but yes I think that’s fair to say that I often focus more on the conventional parameters of music.  However, whilst the written music on the page it may look like completely ‘notes-based’ music, without extended techniques etc., the main impetus for this piece was the harsh, rattling sound of the low harpsichord at the start (borrowed from that faulty practice room harpsichord!).  Whilst the pitches in this section are still important to me, the harmony is obscured by the low cluster chords, and we do focus more on the sound, rather than how each note leads to the next I think.

AHN: Well we’re certainly looking forward to recording and performing it over the next two days.  Just before we go, tell us, what other projects are you working on/do you have coming up in 2014?

CR: I’m currently finishing work on a large chamber piece for the London Graduate Orchestra Chamber series, premiering at the Forge next month. Then my next projects are a piece for baritone, organ and cello, and a large orchestral piece for the City of Cambridge Symphony Orchestra as part of the Adopt a Composer Scheme.  It’s one of my longest pieces, and I’m also incorporating electronics into the piece for the first time, so I think it’s going to be a busy summer!

A few moments with Jenna Lyle

The Riot Ensemble is gearing up for our upcoming Les Citations project, programmed in memory of Henri Dutilleux, with an array of premieres from around the world.  We’re hugely excited to be hosting Jenna Lyle for the premiere of her new piece, Falterer.  

Jenna is a composer, vocalist and performing artist from Carrollton, Georgia.  She’s currently pursuing a DMA at Northwestern University (my alma matter). She composes, performs, builds installations and plans concerts around Chicago.  On top of all that, she’s co-founder and co-administrator of one of the most exciting new labels around: Parlour Tapes+.

JennaLyle

Photograph by Caleb Chancey

We first ran into Jenna’s music during a listening session with the Artistic Board.  Specifically, we heard her piece Spoonbill on soundcloud, and knew immediately that we wanted to commission her for an upcoming project.

It’s been an absolute pleasure for me to prepare this new piece by Jenna.  In particular, she worked so hard to make sure we all knew exactly what she was after by collaborating with numerous musicians in the Chicago area to produce ‘how-to’ videos for the numerous extended techniques that come up in Falterer.  You’ll find these embedded below, though I have to prefix our interview with this, an extended vocal technique – performed by Jenna herself.  I’ve been completely unable to replicate this sound, and it strikes me as some sort of dark magic.

Aaron HN: Jenna, thanks so much for traveling so far to be with us for the world premiere of your new piece Falterer.  We commissioned this work in relation to Dutilleux’ Les Citations (‘Quotations’).  Did Dutilleux’s music effect or influence you as you wrote your own work?

Jenna Lyle: Although it would be SO META to use a quotation of Les Citations, I chose instead to be loosely influenced by the piece’s sectional structure and constantly shifting timbral language.  Les Citations feels kind of Concerto Grosso-esque, alternating between moments of extremely exposed and vulnerable solo writing and dense colorful ensemble blasts.  I let that inspire me as I drew focus toward a different performer in each section, weaving in and out of highly exposed soloistic blocks and blocks with varying tutti colors and textures.

AHN: You had considered some different titles for the piece as you were composing it, could you tell us a bit about the process of ‘naming’ a piece, and what ideas eventually led you to Falterer?

JL: Haha yes, I was considering the title THUNDERTURTLES for quite some time.  I worked a lot last year with vocalist and artist Lara Oppenheimer.  Her daughter Ursula’s favorite curse word is “thunderturtles,” I’m guessing because of the rich, cathartic phonemes.  I loved the idea of writing a piece that felt as warm, yet heavy and trudging and as capable of massive release as Ursula’s preferred expletive.  The more I lived with the piece, though, the more it became about the state of being just before an expletive escapes one’s mouth (presumably in a situation where dropping F-bombs would be considered taboo) – the often ridiculous effort that goes into maintaining composure under what feels like extreme duress – and the complex sensation of blissful release/possibly guilt-ridden suspension that coincides with faltering.  Hence, Falterer was the final title.  Whether or how the faltering and/or release actually happens in the piece though…I guess you’ll just have to come to the performances and find out (See what I did there? No spoilers from this composer. I’ve seen the movie trailers. I know how these things work.).

That, plus, multiple friends assured me that THUNDERTURTLES was better employed as a child’s curse word (wonderful child and wonderful curse word though they both are) than as the title for a serious piece of conceptual art.

AHN: Falterer is a very beautiful, graphic score with many extended techniques for all the players.  Composers are surrounded – both in everyday life and more and more in the repertoire – by sounds and noise.  How do these sounds influence you and get incorporated into your compositional work?

In my compositional work, sound is usually the result of a prescribed movement or type of body awareness.  In Falterer, I chose performance techniques that required a particular kind of body focus first and then refined the sound world after that.  I wanted to use inherently unstable materials that require extreme focus and slightly more work than feels intuitive to sustain (to embody the energy of composure under duress mentioned earlier).

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To isolate a few, the oboist depresses the keys for a multiphonic and underblows so that only one of the pitches sounds, the bassist performs a passage revolving around the intentional sounding of the instrument’s wolf tone, and the harpsichordist measures the pace at which she (Goska) lifts her fingers after depressing keys.  Techniques like these possess their own inherent sonic qualities, and I worked with timbral and energetic imitation as I orchestrated around them.

It also bears mentioning that the piece is intentionally relational – not that all ensemble music isn’t – in that I tried to build interpersonal dynamic layers into the piece as a form of development.  Those layers are manifested via improvisation, performer-to-performer proximity, instrument-sharing, and contrapuntal textures entirely dependent on the speed of a particular instrument’s vibrato or tone-beating.

AHN: In addition to being the world premiere of this piece, I think I’m correct in saying this will be the first UK performance of any of your work.  We live in such a globalized society, yet contemporary music is often a very local phenomenon. Could you tell us a little bit about the contemporary music scene where you live (Chicago) and what you’re looking forward to in working in England?

I feel really lucky to be a part of the new music community in Chicago.  It’s so stimulating.  Chicago as a city is such a big place that there seems to be room for everything, even though the new music scene is kind of small.  Regardless of what weird niche art form you dabble in, it’s highly likely you’ll find an audience.  I’ve felt extremely encouraged by the diverse art community in Chicago, and I’ve found myself emboldened to take risks with my work that I might not feel so safe taking were I part of a less varied scene.  New music in Chicago is also a pretty tight-knit community, and generally very supportive.  I feel like I’ve had the support of my peers and the space to ask really important questions of myself and my output, knowing that I’ll always receive some well-intentioned criticism.

Music-making is intimate.  I’ve experienced richness in my own creative process when my collaborators and I have had time to develop a trusting artistic relationship with each other.  It’s an important thing when you’re building something from the ground up, and it takes time.  Of course it’s not so difficult when you find yourself surrounded by amazing artists you see practically every weekend.  If I collaborate with someone in Chicago, I pretty much know what I’m getting into, as do they, and we’re probably friends.  I think that’s what you mean when you reference contemporary music as a “local phenomenon,” and you’re totally right, Aaron.  Local collaborations are really great in the way I’ve described, and they provide a chance to move beyond a score and into complex dynamics of experience.  But non-local collaborations where I have the opportunity to build new relationships and dive into vulnerable music-making situations are thrilling!  Scary, but thrilling.  I’ve been so honored by the trust you and Riot have afforded me with this project, and I’m excited to see how we work together.  I honestly know very little about how the scene in England FEELS, but I’ve been really inspired by a lot of the music I’ve heard by composers from London and Manchester and Huddersfield and Jonathan Harvey once patted me on the shoulder and said “that was lovely.”  Sooooo, I’m thinking it’s gonna be great.

AHN: We think so too!  We’re so pleased with your piece and excited to perform it.  I’m always interested in composers that also spend a lot of time performing.  You’re obviously an active performer as a Soprano.  How does your own performance influence your work as a composer, and visa-versa?

JL: Naturally, my ideas about performer experience are heavily influenced by my life as a performing artist.  I love the feeling when I realize that a piece I’ve been preparing (to perform) is something I’ve internalized, when I can layer my physical and emotional experience of the material into my performance (it’s just the tiniest bit indulgent).  As an improviser that happens more often, since experience and embodiment are what drive my sonic decisions.  And it isn’t simply that it’s a nice feeling – I find the concept of “response” in a performance much more compelling than “execution.”  The energy of response has the potential to build communal experience and eliminate the pretense of correctness or attractiveness as a barrier. It calls for immediacy and translates quickly to others.

So I often craft situations where performers are asked to respond, either to the experience of what they’re playing or to what they hear from other players (with more emphasis on their own perception than, say, the notated hocket section of a Madrigal).  My hope is that it brings about a very human and even “accessible” result.  By “accessible,” (that most controversial of terms), I don’t necessarily mean “pleasing to listen to,” but something along the lines of “possible to physically identify with.”  That kind of shared or recognizable physical sensation, I find, can also be the result of corporeally-focused materials–those reminiscent of sounds the body makes or sensations one experiences.  In the case of the voice, identifiable material is a given.  Everyone has a voice.  Everyone breathes.  Everyone drifts into vocal fry from time to time, intentionally or not (just listen to Noam Chomsky talk for a while).  When writing for instruments, I’ll aim to detach the instrumental sound from anything transcendent or otherworldly or pristine and find materials that either elicit or occur as the result of recognizable physical sensations (the shuddering of the breath into a wind instrument, the brittle quivering of a stick cry on a metal percussion instrument, grunting overpressure on strings, etc.).

The goal is to create a collective consciousness of body between the performers, audience, headphone-listeners, whoever – all those experiencing the piece.  And the challenge in using materials of this nature, in writing for both voice and instruments, is to employ materials that are corporeal in nature without resorting to mimesis. To generate an actual experience of something – with other people – beyond the parroting of the familiar.

AHN: Thanks for that Jenna. It’s very interesting – and will be very helpful to us as we prepare your piece!  Just as we go, tell us what other projects are you working on at the moment/in 2014?

JL: Over the past year, I have become absolutely addicted to writing music for Jesse Langen.  I know a lot of people who have the same problem.  We’re thinking of starting a group where we all talk about it together.  Before I kick the habit though, I’m writing a trio for Jesse, pianist Mabel Kwan, and soprano Carrie Henneman Shaw.  They are three of the most inspiring performers I know, and I’ve been really lucky to work with them as duos (recording Jesse and Mabel performing Alexander Hunter’s music for a Parlour Tapes+ Release and making an installation piece for Jesse and Carrie last Winter), and writing a piece for the three of them is going to be quite literally a dream-come true.  I literally had a dream about it one time.  The piece will be on a concert whose curatorial direction they have very trustingly put in my hands, and my best idea right now involves pillows on the floor and video projections on the ceiling.

I’m also currently involved in a large-scale devised work, 3 Singers, whose creative team and cast are amazing to work with (read more about them here).  3 Singers is a piece of dance, opera, theater, performance art…a little bit of ornithology here and there…  I’m one of, as the title suggests, three singers who are also dancers who are also actors who also operate sewing machines as triggers for live processing.  We’ve been generating material since July of 2013, and we’ll premiere the work in Cleveland this Fall.

Other than that, I’m writing a dissertation and a large scale voice/movement/video piece for myself, so it should be a great year!

A few moments with Jose Manuel Serrano

José Manuel Serrano - Foto colorThe Riot Ensemble is gearing up for our upcoming Les Citations project, programmed in memory of Henri Dutilleux, with an array of premieres from around the world.  We’re hugely excited to be hosting Argentinian composer Jose Manuel Serrano for the premiere of his new work Cenizas de un Madrigal Triste (read on for the translation).

I first met Jose in France last summer, and his music immediately struck me as incredibly powerful, concise and passionate.  It’s a pleasure to have been able to commission himand to ask him a few questions about his work in general.  As with all the composers in this project, Jose will be with us at both Les Citations concerts so look for him if you’ve got any further questions on what he says here!

Aaron HN: Jose, thanks so much for travelling so far from Argentina to be with us! We’re hugely excited to give the World Premiere of Cenizas de un madrigal triste (“Ashes of a sad madrigal”). The word Cenizas (“ashes”) appears in a number of your titles, does it have a special meaning to you?

Jose Manuel Serrano: Is a great pleasure for me to be here, for first time in UK also, to attend the concerts and to work with The Riot Ensemble. Thanks a lot for this commission and opportunity.

The word ashes, is a very evocative word for me. First of all, because of the immediate association with something that “remains” but which is “incomplete” or almost dead. In some way, the idea of ‘ashes’ is linked with the concepts of memory and past, because we automatically think back to the original object, which now is only ashes.

Another connection to this word word is through the poet Omar Khayyám.  He worked in Rubaiyat, where he believed that all the things of this world – even all the sand of the deserts or a wine’s glass- were created with the ashes of the dead, and are still a part of life.

Concretely, I’ve used this word in some titles when I wanted to make some reference to other music (like Ars Nova and Ars subtilior). This is the case with this piece, where “Madrigal Triste” (Sad Madrigal) is a small reference to Baudelaire’ Les Fleurs du mal.

AHN: We specifically commissioned this piece to go with Henri Dutilleux’s Les Citations. Did Dutilleux’s music effect you as you were composing this piece?

JMS: Before I began to write this piece I was thinking about the occasion of the concert (an homage, for Dutilleux). I thought about lots of different approaches, such as:

  • “Should I use some materials or ideas from Les Citations by Dutilleux as a reference or evocation?”
  • “Or maybe from other pieces by Dutilleux?”
  • “Maybe I can use some of the same quotations, or from the same composers, that Dutilleux used in this piece (Jehan Alain-Clémet Janequin and Britten)”
Cenizas de un madrigal triste - Ref

The opening page of Cenizas de un Madrigal Triste

I finally landed on two things: one, that the best I could do – to connect Dutilleux’s ideas with my own ideas – would be to write a piece based on quotations from music I like and which are part of me.  A bit like making my own selection of “citations”, sort of repeating something that Dutilleux made at the beginning of the compositional process.  Second, I decided I will use some instrumental ideas from “Les Citations” which I also has used in some of my pieces: Working on instrumental ideas like modal melodies in artificial harmonics in the contrabass, chords in tremolos and ppp (with soft mallets) in the marimba, resonances in tam-tam, dense chords in the harpsichord, and so on.

And with this I should create a continuity between new materials and seven quotations I took from Mozart (Piano Concerto No.23, Mov. II), Josquin des Prez (Mille Regretz), Berlioz (Requiem), Nicola Vicentino (Laura, che ‘l verde lauro), Schubert (Ihr bild) and others.

This piece could be titled as “Les Citations” too, but it’s my personal version, with some references to instrumental ideas that can make us remember the piece of Dutilleux.

AHN: Even though you are a young composer, your music has struck me from the first time I heard it as having a very strong, unique and distinctive voice. Do you think you have a ‘personal style’ of composing? Could you describe your own style to us?

JMS: That is always a hard question for me, and I think for many people too. It’s hard to view our own work from inside, though even from outside there are also some things which can’t be seen completely. I want to be critic with my own work and ideas all the time (I always fear I am doing less of this as I get older) and I find problems all the time during the composition process.  This is one reason I write slowly and review the same bars eternally. I can recognise musical influences in my pieces in different points or concepts many times. That is a normal feeling for me.

Recently, very strangely to me, many people have started saying to me that my music sounds very personal; that it has some individual voice. Maybe! I hope so!  The influences I find are many and when I put them all together their origins vanish, or they work differently enough that they are creating a new thing. I don’t know. But as I said before, it’s still hard, very hard, for me, to find myself in my music. I still find that many sounds that comes from here or there. And if there is something which I recognise as “my”, the fear of “repetition” makes me feel that I work on the same ideas in many of my pieces. I mean, any time that I find something “recognisable” of myself, I don’t feel well using it many times (but it’s also not so easy to find new things).

About if I can describe my music…I can say that in the last years I was very interested in worlds which can be found between textures like chorals, paraphonies, monodies and heterophony, working with the ambiguity, duality and clear meanings in between of them. Let’s say: all the possibilities of meaning between the vertical and horizontal dimensions. With some slow and far melodical/textural/timbrical ideas which can have some references to music from the past. I like to expose the materials with some fragility, almost naked, to produce some tension, but that don’t means that the materials don’t have different natures and that they will be very restricted, or that there will be not big changes and strong contrast during the piece. I want to work with something synthetic, but not simple, which includes all the character I want or need without a forced and stylised elaboration, or a superficial refinement. A material that is exactly the one I need. (But that is really hard to find any time and needs lot of time), And if the material is apparently complex or apparently simple, I will just let it be.

AHN: Well we’re hugely excited to be giving this premiere of your work, Jose.  It’s wonderful to bring in composers from around the world, and to hear what you are doing.  We live in such a globalized society, yet contemporary music is often a very local phenomenon. Could you tell us a little bit about the contemporary music scene where you live (Argentina) and what you’re looking forward to in working in England?

Until this year, none of my pieces was performed in UK. And fortunately last year I had this great news of this commission and concerts in May, and last month I knew that an Italian Dúo, for cello and piano, also performed a piece in London last February. I am very happy for these performances.

The musical world in Argentina is very diverse and has changed a lot in the last years. Around 10 years ago there was almost no stable ensembles of contemporary music, a few concerts per year, and only one annual big International Festival in Buenos Aires each November.  Now, speaking only about Buenos Aires, there are maybe 10 stable ensembles, with around 7 annual concert series of contemporary music, when sometimes in strange days in November you can have like 5 concerts in a day of contemporary music.  Things have changed a lot. The most strange thing: there is a good public, many times full, in any concert, especially young people, who are very enthusiastic.

I can say that there is a big phenomenon of contemporary music now in Argentina. Many young players create new ensembles each year or play as freelance for these annual concert series. And there are many young composers too. But the other face of this is the instrumental level. There are many great players from Argentina, many of them who are playing in Europe in famous ensembles and orchestras, and many of them living in Argentina too, but I still feel the absence of a real high level or professional instrumental ensemble or orchestra for contemporary music. Normally, making a generalisation of course, the instrumental level in the concerts of contemporary music is medium or not good. If you want, one can attend good concerts for solo instruments, duos or trios of marvellous musicians but I still hope that in the next years some good large ensembles will be created calling the best players.

I feel like it’s mandatory for me to travel to Europe and outside of Argentina, for infinite reasons. To see and experiment different cultures, sound, flavourings, food, etc, and to feel that the time and history are “real” in any corner, and that the same things can happen again and again in abstract with different forms crossing the centuries. I can say millions of things why I love to travel, like all the people, but of course one of the main reason is that for me, as a musician, Europe represents a great level of performance for my music.  There is more possibility to attend good concerts from early to contemporary music, and the possibility of meeting new good friends and future colleagues which have the same musical needs. And more important, that even when I love Argentina, it’s nice to take some good air from the quotidian life from time to time!

These are the things I am looking forward to do and find in UK too, and I am sure I will! I am very excited to work with the Riot Ensemble in the rehearsals, and to meet all your players and to attend the concerts. And of course to know more about UK’s culture during this days in, as you said, my first trip here, where many things are new for me.

AHN: Fantastic Jose.  Just before we finish, what other projects dos you have coming up in 2014?

JMS: From the beginning of 2014 until now I had some performances in Italy with a cello piece, in Germany with a string trio which was performed two times by the Ensemble Aventure (Freiburg), and the same string trio – which was selected at the ECCE Ensemble Call for Scores 2014 – was performed twice in USA. After the concerts in London and Cambridge of the next week, I will have a performance in Lulea (Sweeden) at the “New Directions Festival”, where I am very happy to can go too during this trip. After this I will return to Buenos Aires, to come back at my job in the University of La Plata, and am preparing a Festival of contemporary, classical and early music in the town where I grew up: Choele Choel. I need to finish a new piece for soprano, piano, contrabass, percussion and prerecorded instruments too, which will be premiere in Buenos Aires around August, and I also need to finish two pieces before end of the year. I have a lot of work to do, fortunately.

AHN: We can’t wait to hear all the music Jose! 

A few moments with Arne Gieshoff

ArneThe Riot Ensemble is gearing up for our upcoming Les Citations project, programmed in memory of Henri Dutilleux, with an array of premieres from around the world.  One of the pieces coming from closer to home is from emerging composer Arne Gieshoff.  Arne’s currently a Sound and Music Embedded composer with BCMG, and a fellow-member of the New Voices Scheme.

I’ve known Arne’s music for a couple of years now.  It’s a pleasure to have been able to commission and programme his new solo oboe piece Wucherung, and to ask him a few questions about his work in general.  As with all the composers in this project, Arne will be with us at both Les Citations concerts so look for him if you’ve got any further questions on what he says here!

Gieshoff, Arne - Wucherungen_2

Aaron HN: Thanks for being with us Arne, and for your new solo oboe piece.
We commissioned this work for a project including Dutilleux’ Les Citations.
Did his music effect/influence you at all as you composed your new piece?

Arne Gieshoff: First of all, thank you very much for commissioning this piece! I’m very excited to be hearing Wucherung at the Forge next week. Rebecca is playing it brilliantly!

No, there is no direct relation between Dutilleux’s work – Les Citations in particular – and the oboe piece. However, his music has been a constant in my musical development and in that sense is influential on my compositional outlook. I sang the children’s voices part in a performance of The Shadow of Time something like thirteen years ago. This had a great impact on me and I guess the excitement for his music and contemporary music in general started around that time.

AHN: You worked closely with the oboist in writing this piece.  Is that a normal part of your composing process, and what do you do differently in writing a piece when you’re working with a specific musician?

AG: Wucherung explores the lower register of the oboe and its microtonal capacity. Those sounds require specific fingerings which vary in their success to produce a certain pitch on different instruments. On that level it was invaluable to work with Rebecca – especially because it is a solo piece. It can often help to know who will be on stage in order to get a better grasp on the material without necessarily tailoring it to preferences beyond my own.

Wucherung is part of a cycle of works which also comprises the string quartet Unwuchten (‘imbalances’), verdreht (‘contorted’, ‘distorted’, ‘perverted’, ‘pixilated’, ‘wry’…) for Trombone, Melodica and Scordatura Melodica and Umschreibung (‘periphrasing’ / ‘alteration’) for chamber orchestra. In German, the term ‘Wucherung’ describes the uncontrolled growth of structures such as tumours.

AHN: Do you have a specific, daily routine for composing?

I have a daily routine but try to avoid a composing routine.

AHN: I think it would be fair to say that your music focuses on ‘musical’ parameters (pitch/rhythm/melody/form/etc…) eschewing extra-musical things such as noises (rustling paper, key-clicks, breath sounds, etc….)  But composers are surrounded – both in everyday life and more and more in the repertoire – by sounds.  Do they influence you and are they in any way significant for your compositional work?

While I acknowledge a difference between sounds produced by instruments which were built for that purpose and sounds stemming from unconventional sources, the divide is not that clear cut for me, and is not an idealogical one. I think the issue of anecdotal qualities of sounds is technical: the creation of a meaningful context for them poses different demands compared to conventional instrumental colour. However, for me all sounds have ‘musical’ potential and in the same way that the Lupophon hasn’t featured prominently in my work, a hoover hasn’t either. But this could change tomorrow.

AHN: What other projects are you working on/do you have coming up in 2014?

AG:Throughout the year I am Apprentice Composer-in-Residence with the BCMG as part of Sound and Music’s Embedded scheme and am spending time in Birmingham gaining insights into the ensemble’s work in preparation for a 2015 commission.  I’ve also just finished Umschreibung for chamber orchestra (part of the same cycle as the oboe piece) which will be performed as part of the London Philharmonic Orchestra’s Debut Sounds Concert on 9 June at the Queen Elizabeth Hall, and have received a fellowship for the Tanglewood Music Center.  I’ll spend the summer there studying as part of the composition programme and having a few works performed.  In the Autumn The Ligeti Quartet will premiere my string quartet Unwuchten (also part of the cycle; commissioned by Anthony Bolton through Third Ear) at the Little Missenden Festival.

exploreensemble

In addition to that, fellow composer Nicholas Moroz and myself are busy organising performances for explorensemble, a contemporary music group we run. On 23 June there will be a concert at the RCM featuring works by Sciarrino, Furrer, Romitelli and young composer Edwin Hillier.  And in September we will be performing Fausto Romitelli’s Professor Bad Trip (Lesson I, II & III).

A few moments with Drew Schnurr

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The Riot Ensemble has had a busy month of May – from an outdoor performance of Workers Union (to which the police were called!) to Vox Balaenae and the UK premiere of Djuro Zivkovic’s I Shall Contemplate… on the Platnauer Concert Series at Brasenose College, Oxford.

Next week, though, is where we really get going.  Our Les Citations project, programmed in memory of Henri Dutilleux, will feature an array of premieres from around the world.

One of the furthest afield comes from Los Angeles-based composer Drew Schnurr whose new piece Linda’s Wake sets a libretto by Richard Sparks. It was my pleasure to ask Drew a few questions about Linda’s Wake, and his work in general.  Drew will be with us at both Les Citations concerts so look for him if you’ve got any further questions on what he says here!

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Composer Drew Schnurr

Aaron HN: Thanks so much for being with us Drew.  We can’t wait to give the world premiere of your work Linda’s Wake, which you wrote with librettist Richard Sparks. Can you tell us a bit about your work with Richard, and how you collaborated on this piece, specifically?

Drew Schnurr: First, I want to say how excited I am for the opportunity to work with the Riot Ensemble on this project. I had a great experience working with Richard last year, so when the commission came in I knew right away I wanted to ask him to be involved. I was happy he said yes. He took a few weeks and wrote the text specifically for this piece. I had no idea what he would be coming back to me with, and was blown away when I read the text for the first time. He had built a mountain for me to climb.

AHN: Setting text is always a particular challenge for composers, and Richard’s libretto sets some specific challenges for you as it moves in and out of rhymed verse.  Was this a decision you guys made together, and how did you approach the different formal styles within the text?

DS: You’re right. For me, Richard’s treatment of text and narrative is almost cubist—constructed periods of formally rhymed verse adjacent to more freely flowing structures. These correspond with abrupt intersections of time, place, and emotion within the narrative. All his conception. It did make the text a challenge to set. It would have been easy to do in musical abstraction, but my intention with this piece has been to support the heart of the protagonist’s (the soprano’s) story while also keeping the work interesting musically. One way I did this was to try to think of the text itself—inflections, rhythms, and formal structures—as musical material that can compositionally developed “as music.” This gave me some of the flexibility I needed to make the whole thing work.

The opening of Linda's Wake's Libretto by Richard Sparks

The opening of Linda’s Wake’s Libretto by Richard Sparks

AHN: You were a professional contrabass player yourself for many years – and indeed there’s a contrabass in Linda’s Wake.  How do the experiences you had as a performer effect your composing today?

DS: It’s another layer. I spent many years cultivating my skills as a performer and then working professionally. I personally feel one danger of the performer turned composer is that the “performer” can take over in the creative process which can narrow the range of compositional expression. When I turned my focus to composition some years ago, I worked consciously to try to bring my compositional technique to the same level I had achieved as a performer. It took some time, but I finally feel these two aspects of my musical DNA as being integrated and working well together. I wouldn’t have it any other way. When composing, I’m always conscious of how it would “feel” to perform the music within the ensemble, which I feel is of tremendous benefit to my process.

AHN: In addition to being the world premiere of Linda’s Wake, this will be the first UK performance of your work. We live in such a globalised society, yet contemporary music is often a very local phenomenon. Could you tell us a little bit about the contemporary music scene where you live (Los Angeles) and what you’re looking forward to in working in England?

DS: One of the distinctive traits of the new music scene in Los Angeles is it’s diversity. I’ve always been very attracted to that—both for how it stimulates creativity in my own work and for the freedom it allows. It’s rare. And we are experiencing a kind of surge here. New music series are sprouting up all over. Many of my L.A. composer colleagues have re-located recently from other parts of the U.S. traditionally considered more “happening” in terms of contemporary music. People recognise something significant is happening here. I’m very excited to be having my UK premiere. London continues to be so important to what is happening in new music today, and my musical encounters in London are always inspiring. I’m really looking forward to working with the Riot Ensemble for this project!

AHN: Well we’re very much looking forward to working with you, too, Drew.  As we sign off, tell us what other projects do you have coming up in the year ahead?

DS: It’s going to be busy. Work wise: I have a documentary film that I scored coming out this summer, along with a couple of other films in the pipeline. UCLA also hired me this year to develop a new curriculum in “sonic arts” at the Herb Alpert School of Music so I’ll be busy with that this fall. On more personal artistic fronts: Richard Sparks and I are planning another project, and I’m also working on a series of piano etudes. Any day composing music is a good day. I plan to have many more of those this year!

A few moments with Djuro Zivkovic

This Saturday we make our Oxford Debut, with a programme stretching from J.S. Bach’s Second Cello Suite, through to the UK premiere of Djuro Zivkovic’s I Shall Contemplate….  (The programme also includes the magical Vox Balaenae and two preludes of Claude Debussy).

We were incredibly lucky to have Djuro with us for rehearsals of I Shall Contemplate… this week, and it was my pleasure to sit down with him and ask some questions about this piece and his other work.

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Djuro Zivkovic works with The Riot Ensemble on ‘I Shall Contemplate…’

AHN: Djuro, In your introductory note to I Shall Contemplate…, you talk about ‘composing this piece through improvisation’, could you tell us more about how you work when you’re writing?

Djuro Zivkovic: Each piece has its own working path, but there is a routine in my working environment that I feel very comfortable.

I think of two approaches in composing: analytic and synthetic.  In my improvisational composing, I confront the synthetic aspects of composing against the analytic ones.  When working analytically, I’m determining processes/techniques.  It’s all about a knowledge of HOW to compose. On the contrary, the synthetic approach is focused on an understanding of the wholeness and the question of WHAT you compose. I’m normally more focused on “What” I compose, because the knowing of “What” is the very thing that ultimately determines how I write it.

For me, the improvisation is a way of getting to know WHAT to compose.  I spend a long time – many hours – improvising, and eventually the final idea crystallises in my mind. The improvisation gives me total and unlimited freedom in expression. Then, later in the process, I use the more analytical techniques to help me shape the score in the desired way.

AHN: There’s a vocal part in I Shall Contemplate…, how does it relate to the instrumental ones?

DZ: I have attempted to create a vocal part that is as simple as possible. It is not an opera, but a very solitary voice that descends deep in its heart. It is like being naked and alone in a desert asking God for forgiveness and help. It’s drama comes from how simple it is.

AHN: Where does the text of I Shall Contemplate… come from?

DZ: The texts are partly from the Divine Liturgy and also from Dionysius the Areopagite – a very mystical figure of the early church. I am always looking for unusual texts, because they inspire me and make me want to compose music for them.

These texts are very, very far away of daily worries and activities in our lives, that’s why I love them. Although they’re Christian texts, in these sentences there is no name of the God, and so they can serve as a cantata for any human believer, or at least musically – for anyone.

AHN: It’s lovely how you refer to it as a ‘cantata for anyone’.  You do mention Bach in your note about the piece (and, in fact) we’ve programming your piece alongside movements from Bach’s Second Cello Suite).  Could you tell us a bit about how Bach’s music relates to I Shall Contemplate…?

DZ: Bach played a huge roll in my youth. When I was little I decided to be a baroque violinist and composer after listening to Bach’s organ prelude E-flat major!

In the German cultural centre Göte-Institut in Belgrade I had chance to borrow famous Archive editions of recordings of Bach’s cantatas, with small scores that follow along the LPs. It was a great experience in my childhood, and I always wished I could compose cantatas. This piece is far away from that period, but I hope still very close in the spirit of Bach’s works.

AHN: There are a number of beautiful extended techniques in your piece.  Microtonality, multiphonics, and singing by the flute and piano player.  Composers today are surrounded – both in everyday life and more and more in the repertoire – by extra-musical sounds.  Do these sounds influence you or play any role in your work as a composer?

DZ: They do play role, but I always try to filter these sounds. Some sounds can be dangerous for my composing and some are fruitful.

AHN: Thanks so much for being with us Djuro.  We’re really looking forward to giving the UK premiere of I Shall Contemplate… this Sunday!

DZ: Thanks for having me, and good luck! 

 

 

 

A few moments with Alastair Putt

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Of all the pieces in our concert this Friday, only two will be ‘non-first’ pieces.  One of these will be Harrison Birtwistle’s second wind-quintet Five Distances for Five Instruments, and the second will also be a wind quintet: the very beautiful Halazuni by Alastair Putt. (Here performed by Martha Long (flute), Graham Mackenzie (oboe), Danny Goldman (clarinet), Elyse Lauzon (horn) and Andrew Brady (bassoon) at Tanglewood Music Center on July 22nd, 2012)

I know the Atea Quintet have hugely enjoyed preparing Alastair’s work for our concert on Friday, and it was my pleasure to sit down with him and ask a few questions about this piece, and his wider work as a musician and composer.

AHN: Alastair, thanks so much for taking the time to answer our questions – and for your great piece!  I think it would be fair to say that – as with this piece – the majority of your music primarily focuses on ‘musical’ parameters (harmony/rhythm/etc…) eschewing extra-music things such as noises (rustling paper, key clicks, breath sounds, etc…)  As composers, we are surrounded – both in everyday life and more and more in the repertoire – by extra-musical sounds.  Do they influence you and are they in any way significant for your compositional work?

pretty good composing advice!

pretty good composing advice!

AP: In short, no. More than anything, I’m interested in harmony, and I feel that there are already enough decisions to be made as a composer using only the 12 notes of the chromatic scale (occasionally more!), let alone bringing in the potentially endless spectrum of extra-musical noises into the equation. Which is not to say that I shun music that incorporates such sound, only that I don’t feel I have anything new to bring to the table, in that regard.

AHN: You’re active in contemporary music as both a composer and as a performer (a tenor, and occasionally as a guitarist), does your activity as a performer affect what you do as a composer?  

AP: Not hugely, I don’t think, but I do try to be as considerate as possible towards performers- even if I don’t know how to play an instrument, I will always try to imagine the basic actions that a line of music might require of them. On, say, a string instrument, those can be relatively easy to visualise, but it’s harder with wind instruments because of all the fiddly fingerings!

AHN: And do you think of the audience when you compose?

AP: Not explicitly, but I do care about how the music sounds in real space rather than in some abstract, formalised sphere, so in that sense, yes. Ultimately, I try to write music that I would like to hear, rather than analyse.

AHN: Could you tell us a little bit about how and when you wrote Halazuni?

AP: Halazuni was written for the Richmond Concert Society in 2011; it takes its inspiration from arabesque decoration in Islamic art, and the patterns and lines therein. I’ve always been drawn to the beautiful abstraction of such art, and its juxtaposition of rigid patterns and shapes with more florid, elaborate elements. In the piece, a rhythmically regular background texture is overlaid with slower, more flexible lines. Much of the pitch material is derived from the Fibonacci series, so often a building-block in geometric art: here, the numbers from the series determine the successive intervals heard in the opening motif, which rises by 1, 2, 3, 5, 8 and 13 semitones. That ratio is also used rhythmically, at the very end of the piece, as the five parts play the same (but transposed) material in the tempo relationship 1:2:3:5:8, which creates a rather wild heterophony.

AHN: Many composers (and musicians) consider the wind quintet to be a rather difficult ensemble to write for.  How did you find the wind quintet and how did you go about solving some of the problems it presents? 

AP: I’ve always liked the somewhat bracing sound of the wind quintet, and I remember it as being quite a fun piece to write! I don’t think it’s a particularly problematic ensemble, really: all the instruments are naturally pretty agile (though the horn less so) and can handle a variety of articulations. That said, I have no experience of playing wind instruments, so I can’t vouch for how nicely it sits under the fingers; I suspect that the final, dance-like section contains some nasty little corners for everyone. As for the potential for balance problems resulting from a brass instrument masquerading as a wind instrument, I didn’t really attempt to tackle that in the score, figuring that a good wind quintet is perfectly aware of issues specific to their ensemble- it’s not the composer’s place to butt in and try to ‘solve’ anything!

A few (brief) moments with Thomas Adès

Photo by Brian Voce

Photo by Brian Voce

 

As you’ll know by now, we’re interviewing some of the composers featured in our first concert of 2014, which takes place this Friday at Club Inégales.  So far we’ve spoken with Richard Causton and Joanna Lee, and tomorrow we take a few moments with Alastair Putt.  We did also send some interview questions to Faber Music for Thomas Adès.  

Though Mr. Adès doesn’t normally answer questions, he did give us a few brief replies which we thought our readers would enjoy.  The interview is below!


Riot Ensemble: The Lover in Winter is – as with many pieces in this concert – your first published work.  I’m sure, though, that you wrote many pieces before this ‘first’ one.  How does a composer decide when to start keeping works in their catalogue?  Have you kept every pieces written since The Lover in Winter in your repertoire?

TA: Not my Aubade, but almost everything else.

RE: You are active in contemporary music as a composer, conductor and pianist.  Does your work as a performer affect the work you do as a composer?

TA: I’ve not really ever noticed.

RE: Do you change/revise your pieces after they are performed?

TA: Sometimes.

RE: Looking back from where you are now, do you recognise elements of a ‘personal style’ in The Lover in Winter?

TA: Yes.

RE: Do you think it is important for a composer to be searching for a personal style?  How have you guided the students you’ve taught to seek this out?  

TA: I have never really taught.

RE: Do you have advice on how a young composer can achieve or go about this?

TA: No, I don’t really know. 

RE: When does the idea of a ‘personal style’ simply give way to self-repetition?

TA: It can do. 

A few moments with Richard Causton

We have a great season of concerts coming up in 2014 – the first of which, Number Ones, features ‘first pieces’.  We love the idea of taking a look back at where some of today’s composers began their journey, and to listen for the ideas that have either grown more important to them or faded away over time.

Richard Causton HeadershotRichard Causton is well known as a technically precise and inventive composer.  Now University Lecturer in Musical Composition at Cambridge, his recent work Twenty-Seven Heavens was commissioned by the European Youth Orchestra and premiered at the Amsterdam Concertgebouw.  Richard’s early career was marked by an incredible pace of impressive awards, such as a Fast Forward composition award (1994), the ‘Nuove Sincronie’ (1996), an SPNM George Butterworth Award (1995) and a Mendelssohn Scholarship (1997).

Before all of that, though, came Richard’s Threnody – written in 1991 – for soprano, 2 clarinets and piano.  This piece will actually be my performing premiere (as a pianist) with The Riot Ensemble, and it was my pleasure to take a few moments to discuss Threnody with Richard this past weekend.

AHN: Richard, thanks so much for taking the time to sit down with us.  Threnody is – as with many pieces in this concert – your first published work.  I’m sure, though, that you’ll have written many pieces before this ‘first’ one.  How does a composer decide when to start keeping works in their catalogue?  Have you kept every piece written after Threnody in your ‘repertoire’?

RC: At a certain point there comes an unmistakable feeling of rightness that makes you realise you’ve written your first real piece of music. This piece is the first thing you willingly make public and put your name to; and it remains with you for the rest of your life. It has to do with reaching – or getting close enough to – what it is you were aiming for previously but weren’t able to achieve. In this particular case it is also bound up with the text I set to music, which is beautifully succinct and could be a sort of credo.

Since Threnody I’ve kept most of what I’ve written, barring some occasional, very short pieces.

AHN: What is it like to look back on a work you wrote so long ago?  Do you change your pieces after they are performed?  Do you find new things in a piece after returning to it after so long?

RC: It’s always interesting looking back at pieces written some time back. You have moved on, your preoccupations are now different, and yet the earlier piece was the best possible embodiment or realisation of those particular ideas at the time it was written. And as such, it has an authenticity which could be destroyed if you attempted to ‘correct’, or revise the piece much later.

AHN: Looking back from where you are now, do you recognise elements of a ‘personal style’ in Threnody?

RC: Yes – the essentials have not changed, which is why the feeling at the time of having written a real, authentic piece of music was so strong.

AHN: You currently teach at Cambridge, and have taught a number of young composers.  Do you think it is important for composers to develop a personal style?  Do you have advice on how a young composer can achieve or go about this? And when does the idea of a ‘personal style’ simply give way to self-repetition?

Of course writing music now is completely different from a few hundred years ago – music of whatever kind is now so available, so easy to get hold of, that composers are required to be original, which was not necessarily the case previously. So if there is still any demand for music at all, it is demand for a genuine voice which has integrity and tells us something we did not already know. Luckily, we are all different and a personal style can found through listening – deeply, inwardly as well as outwardly. And self-repetition can be avoided too if composers have the courage to let new ideas into their imagination.

AHN: What’s in store for you in 2014?

RC: I am currently working on a new piece for the Bath Festival for Pipers Three oboe trio, after which I will be writing a piano quintet for the Nash Ensemble. And my wife is expecting our second child any day now, so there should be plenty to do!

AHN: Well that’s extremely exciting news!  Thanks so much for your time Richard, and best wishes for a successful 2014!

RC: Thank you!