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ReFound Sound 2

[research 2]

This second blog is mainly dedicated to an article Dr Alex Murdin, Arts and Health coordinator at Dorchester Hospital has written about ReFound Sound and my role as composer-in-residence.

But before that, a little about my last visit to Dorchester Hospital.

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After attending a cookery class on Barnes Ward [they were making rock cakes] and talking to a number of patients there [and after eating the cakes] Alex and I went on a tour of the hospital to look at potential sites for the installation piece I will be creating. I will need to do the same at Yeovil District Hospital in the coming weeks, too.

I am coming to the end of my research period and am now hunting for some specific feedback around how careers outside of the health profession manage the challenges of dementia, especially when the care being provided is for someone in the family such as a partner and this care is offered at home. More about this after my visit to Yeovil next week when I shall be meeting individuals who have direct experience of caring for loved ones with dementia.

The final compositional shape for the installation is gradually ‘solidifying’ in my mind’s eye and mind’s ear – it’s important for me to see and hear the ‘conceptual’ installation at this stage so I understand how to shape the content of the installation to fulfil the goals I have developed for the piece through this research period. Visiting the locations where the installation could be sited [such as the chapel in the previous blog] helps me to think of the piece in spatial terms and how the musical content can best be delivered in this context.

We had a look at a number of locations around the hospital.

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These all have potential, and there is scope for the installation to move around to different parts of the hospital, too.

My favorites are these two more complex intersecting stairways that sit on different levels. As well as acting as a thoroughfare and crossroads for a number of wards, these areas are rich because of the potential they offer for spatial location of the installation vertically on the different floor levels and also horizontally along the corridors.

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Permission must to be sought for the installation to be placed in any of these locations as there are a number of people who’s working or visitor / patient requirements for the space must be considered.

A sound installation can be less than enthusiastically received if it dominates a space or drives those who work in or near it to distraction. We need sympathetic hosts who are comfortable with the installation being present whilst being mindful of how the volume of the installation might effect those working in those installed areas.

How quiet can the installation be for it to work and be effective? In my view, an installation that whispers and quietly sings its content can be very effective and affecting. As Alex and I discussed this it became clear that the installation as envisaged would be completely flexible and installed as a whispering, ghostly shimera of sound, or, in another context, such as installed at a conference or arts event, much louder, creating a completely different experience for the audience. I like the idea of the work being adaptable as it increases the scope and possibilities for its continued and varied installation across widely differing locations and hosting needs.

I’d now like to introduce Dr Alex Murdin and the article he’s written about ReFound Sound and my role as composer-in-residence.

imageThe tie between music and memory is one that we are born with and die with. Neurologically, in very simple terms, processing music involves the functioning of at least two different brain networks, as well as invoking those associated with language (songs with lyrics), movement (moving to the rhythm) and its interweaving with other long term memories (the soundtrack of our lives, our celebrations and significant moments). So when some parts of the brain deteriorate as part of conditions like dementia, where the hippocampus responsible for short term memory is effected, music is often preserved as part of other brain function and is able to bring back important memories. So called “implicit musical memory”, which is the subconscious absorption of musical melodies, may be spared until very late stages of the disease (“Why musical memory can be preserved in advanced Alzheimer’s disease” (2015), Jacobsen et al. [Online: http://brain.oxfordjournals.org/content/early/2015/06/03/brain.awv135#ref-59]). Professor Paul Robertson, a concert violinist and academic who has made a study of music in dementia care, puts it another way: “We tend to remain contactable as musical beings on some level right up to the very end of life, we know that the auditory system of the brain is the first to fully function at 16 weeks, which means that you are musically receptive long before anything else. So it’s a case of first in, last out when it comes to a dementia-type breakdown of memory.”

It seemed very interesting to us (the Arts in Hospital producers at Dorchester and Yeovil Hospitals) to explore what musicians can do to help us to help those with dementia at our hospitals and in the wider community, as an ageing population means that there will be more and more with forms of cognitive impairment. Both hospitals had already worked together on music programmes before, bringing in live music to the wards with great effect, improving eating, sleep and levels of activity in patients, not to mention the sheer joy it brings – as one nurse said: “I’ve seen patients come alive in front of my eyes”. We therefore wanted to carry on with this work and also to spread the message to health professionals, care workers and carers that music is a powerful medicine. Hence the Arts Council, DCH Hospital Charity and Yeovil Council funded “Refound Sound”, a project which has commissioned more live music in wards and more unusually a composer in residence to write a new piece of music related to memory, music and place.

With the composer in residence we wanted to approach the idea as a research project. Not though in the way typical to the field of arts and health. For the most part those involved in arts and health have focussed on the scientific validation of art as having therapeutic value with direct causal outcomes, better sleep, less painkillers needed, quicker return home etc. (all of which are currently being proven in different fields of scientific research like the examples above). This is part of a burgeoning body of evidence designed to convince health commissioners to spend resources from mainstream health care budgets. With the commission for the composer in residence though we wanted to re-emphasise the innovative potential of the arts as an aesthetic practice, i.e. sensory, piece of research into a situation, context or environment through art in action. Perhaps the greatest thinker on health and society this century, Michel Foucault, describes the idea of forms of practice as research: “Practice is a set of relays from one theoretical point to another, and theory is a relay from one practice to another. No theory can develop without eventually encountering a wall, and practice is necessary for piercing this wall.”

To this end the composer, Marc Yeats, was appointed as he has experimented with the limits of the affective potential of music on a wide spectrum in order to reconfigure simplistic binaries of beautiful/ugly, harmonious/discordant, wellbeing/illness etc. In this sense his musical practice is already a prefigurement of the condition of dementia which is a breakdown of brain functions which are applied to regulating normal social relations, judgements about environment, personal activities and day to day life. Our hope is therefore that the resulting work by Marc reaffirms an aesthetic approach to health and wellbeing as a valid research tool, with affective outcomes that nevertheless effectively move people in real ways to reconsider personal and professional approaches to treating and caring for those with dementia.

Dr Alex Murdin

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COMPOSER-IN-RESIDENCE TO THE OBSERVATORY [2a Lymington salt marshes]

Residency 2: Lymington Salt Marshes 12th.- 16th. August 2015

 

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DAY 1

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The Lymington Salt Marshes were, in some ways at least, what I expected to see in a low-lying coastal hinterland that was a cross between natural salt marsh and a managed, drained coastal wetland. This was an entirely man-made landscape – in fact, a post-industrial hinterland between the Solent and New Forest, glorious in former times for its salt production through the evaporation of seawater. It is what remains of these industrial workings that gives this landscape its distinctive feel, structure and ambience.

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The area itself is bounded between the Solent and across from that, the Isle of White, and to the north, a little inland, the rising contour of the New Forest.

The Observatory buildings were situated on the sea wall about five minutes from the nearest road access at Eight Acre Pond, a spectacular position affording 360º views across the area. The sea wall is regularly walked and part of the Solent Way; additionally, Lymington is a holiday destination for many resulting in a huge footfall from passers by around the Observatory buildings exploring these much-loved walks. I had just arrived on site, unpacking and settling in and found myself immediately inundated with passers by investigating the buildings, looking in and wanting to talk. I’ve never experienced such an instantaneous level of engagement from the public in an arts project. Naturally, the Observatory structures were a new and notable addition to this otherwise flat landscape due to their scale and their position directly to one side of the coastal path. They were not easy to overlook. I spent the first 40 minutes in the Observatory talking to passers by who were interested in who I was, what I was doing there and what the project was about. I must have spoken to about 20 different people in that short time!

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This was all very well and good but I really wanted to explore and get a feel for the general area: talking to people wasn’t going to achieve that. I was also mindful that the weather report for the next few days was for torrential rain and thunderstorms and I only had five days to complete my research for the work that was to come. My first day on-site was sunny so I needed to get out and make the most of it.

Mark Drury of SPUD told me about a little private beach on the Solent that was about 10 minutes walk from the Observatory buildings so I headed for that, walking across the salt marshes to reach it.

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I liked this little beach – it was unusual inasmuch as it was formed in a man-made curvature of the coastal defences in the sea wall where, over time, shingle and shells had built up to colonise the curve. The rest of this coastline was either seawall with a 30º incline towards the sea or slat marsh, mud or shingle – but none of it particularly suitable to just sit on in the traditional beach fashion. Additionally, the indentation in the sea wall had caused a few shingle banks to form just slightly offshore from the beach itself that encouraged the most hypnotic dance of cross-currents and tidal eddies that were always in motion at the various states of the tide. The surges of water driven through the narrow channel of the Solent with each rise and fall of the tide were fast and powerful making the little beach feel very static in comparison.

Onwards I ventured to the endpoint of my walk today – to the small harbour-like inlet of Keyhaven – pretty, sheltered and full of yachts – and visitors, it made a natural barrier to end the salt marshes, snuggling as it does under the huge shingle arm of Hurst Spit – gatekeeper to the west Solent. The distance between the Observatory buildings and Keyhaven along the coast path was about 3.5 – 4 miles. This walk took in virtually the entire length of the slat marsh area and was a great introduction to the overall structure and fee of the place. I walked back to the Observatory from Keyhaven along a different route to understand the salt marshes from a different perspective.

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Upon arriving back and opening up the studio Observatory I was again inundated with people so spent the best part of an hour talking to passers by. It was great to have so may people interested in what was going on and I could have talked non-stop for some considerable time, but, I needed to some head space to digest and reflect upon what I had seen today and how this would influence my approach to future site-specific work based on these experiences.

I headed of for the little beach and some quiet time. I also produced a few ‘summation’ sketches that caught the sites and sounds I had experienced in the simplest, fastest way possible.

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Day 1 was completed. I headed back ‘commuted’ to Boscombe where my friend Victoria had allowed me to stay in her house while she was away. The journey took an hour and the traffic was always bad. After the walking and the traffic I was exhausted so bought some food, watched TV, edited my photos from the day, posted on social media and went to bed.

DAY 2

IMG_7340As predicted, day two was wet – very wet. Mercifully the alarmist forecasts for rampant thunderstorms were not fulfilled. I heard only two distant rumbles. That was it. I was relieved; I had misgivings about being hauled up in the largest, tallest structure around in a radius of about half a mile of a very flat and exposed landscape, sporting a small metal chimney and standing on a very large metal base, in a biblical thunderstorm. So I mostly sat inside with the door open, looking out and listening to the sounds of rain falling on the sea, falling on the building and falling onto the ground and the salt marsh lakes; all rather beautiful and delicate. Visitor numbers were understandably down so I was mainly alone apart from the occasional ardent and suitably attired dog-walker who stopped by. The open Observatory building was used very much as a rain shelter by walkers and provided some very welcome protection.

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The rain eased off later in the afternoon. I felt a little cabin feverish having been in the Observatory for some hours so ventured to the little beach once again and sat there, cogitated further and sketched a little.

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Day 2 was complete. The softness that descended on the landscape through the rain and low cloud muffled sounds, created strange and distant echo’s for seabird-cries and passing ships and made the salt marshes feel contained, close and claustrophobic; a haunting and private world very different from my bright and breezy arrival.

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String quartet sketch – incomplete

 

DAY 3

IMG_7387Torrential rain all night in Boscombe; I thought I was in for a very wet day with little opportunity for exploring. Mercifully, by the time I arrived in Lymington at the Observatory buildings the rain had virtually stopped. It was touch and go whether the dry phase would hold or not but I decided to take a chance and walk out to Hurst Castle, across the 1.5 mile gravel spit that runs between Keyhaven and Milford-on-sea out into the Solent and toward the Isle of Wight. I drove to Keyhaven and walked from there to the castle with my trusty cagoule and compact umbrella, just in case I got caught in a downpour. As it happened, the weather remained dry throughout.

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The walking was arduous as only walking on gravel can be. The journey from one end of the spit to the other seemed endless and although my legs were working well I seemed to be walking forwards but going nowhere. The views from the spit were good as it was well elevated above the Keyhaven marshes and the Solent. On my right [on the walk out] I could see the rampant, unrelenting, soulless and hideous development along the south coast stretching from Milford-on-Sea away towards Highcliffe and Bournemouth with cliff-top building dating from the 40s, 50s, and 60s to recent times and on my left, the complex interplay of slat marshes, sea walls and New Forest hinterland beyond – heavily populated with yachts and small boating craft but largely devoid of significant building development. The contrast between the two couldn’t have been more marked. It set a wider context for me to comprehend the salt marshes around Keyhaven and Lymington.

On my way out to Hurst Castle I passed by the yacht park to the west of Keyhaven. Here, the rigging of the many ‘parked’ vessels was rattling, banging, tinkling and generally thrashing about in the breeze making the most wonderful sounds – really musical sounds with varied pitches, multi-layered rhythms, whistlings and hums all rather like the composer Ligeti’s mechanisms but without the musical refinement – the sounds were accelerated in speed and pitch according to the wind speed and gust strength. The aural results were quietly symphonic and certainly sparked off [and consolidated] a whole range of ideas that had been in my head about the new string quartet, its structures and sounds. I had already sketched out some structural ideas for composition in day 1 – 3 along with some ideas of contextual sounds but there were gaps in this thinking. The journey past the yacht club here in Keyhaven had filled in the gap!

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Hurst Castle was a very interesting structure [I only explored it externally] but I was more drawn to the natural spit it was built upon and the desolate landscape this shingle and sea shaped world had constructed, especially around the lighthouse and lighthouse keepers cottages. It reminded me a little of the beautiful and unique bleakness of the Dungeness beach area of Kent.

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Of particular interest was the graffiti I discovered on the lower walls of a few parts of the castle that were scraped into the soft concrete plastering here and there on the west facing walls [the rest of the castle was constructed with a very hard granite, unsuitable for such scratch-writing] and finding these layers of mark-making beautiful to look at and entertaining to read. A bit like a dog pissing on a lamppost, people had obviously felt the need to mark the spot or their time here in this ‘permanent’ way, year upon year creating many layers of comment and memory.

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I took a lot of photos of theses surfaces – very inspirational – by not for this project as they were a little outside the experience of the saltmarsh site-specific area I was looking to work within.

I undertook the long walk back to Keyhaven. I then drove into Lymington. By this time the rain had largely returned. I was in Lymington to explore venues for the premiere of both year one string quartets in the early spring of 2016. I settled upon St. Thomas’ Church in Lymington as a good venue. The first string quartet from this Observatory series, ‘ovington down’ is complete – the next quartet based on my experiences on residency here, yet to be conceived and written.

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I returned to the Observatory for a few hours – spoke to some passers by and then went to my [I now felt a sense of ownership] little beach for a few sketches and quiet thoughts and to make my video diary. The rain had eased off again pretty much so I went on my first walk east along the sea wall towards Lymington itself [as opposed to west towards Keyhaven]. The salt marshes are not so impressive in this area and the further one walks east from the Observatory buildings the closer one gets to Lymington and civilisation, but I was pleased to have now walked the entire length of the salt marshes and sea wall.

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I completed a lot of walking that day despite the weather being so changeable and was ready to face the traffic and drive back to Boscombe to eat, rest and sleep.

DAY 4

The sun came out! The warmth and brightness was a welcome change to the previous few days of gloomy light levels and repressed activity on the salt marshes so I resolved to stay outside as much as possible. I paid my morning visit to the Observatory building, met a range of people who were passing by and had a number of interesting conversations. I then moved to my little beach, as I wanted to think or at least draw some conclusion to a few questions I had been asking myself. As the weather was good I was not alone at the beach but no one knew who I was so I could inhabit my own space whilst being among others.

The questions I wanted to answer were:

What is so different about this particular landscape to the rolling chalk downland around Winchester?

and

What are the unique and defining forces and structures that combine to give this landscape its identity, function and ambience?

These may seem obvious and easy questions to answer but a true understanding of the differences would lead to a fundamentally different outcome in the work I would produce for Lymington in comparison to Winchester. For me, part of the measure of success for this residency series is to create work that within my comprehension at least, is truly site-specific. The simple questions – the obvious questions and conclusions can often be overlooked by more superficial distractions that while symptomatic of the various residency locations will not address the causation of those distinctions.

I have answered these questions in my day 4 and 5 video diaries, but in short, I realised that the dynamic between the still managed waters of the salt marshes was in direct opposition to the tidal and dynamic movement of the Solent itself and although these waterways were connected by an intricate drainage and water control system, the salt marshes were places of complete stillness and the Solent a place of complete movement – and all of this separated from each other by the merest slither of a sea wall, a membrane that separated two dynamically opposed systems, the co-existence of which is the unique environment of the salt marshes.

And the second question of difference – perhaps more to do with the assimilation of an area is related to the confined nature of the salt marshes [it is a relatively small, defined area between the Solent, Lymington and Keyhaven sea walls and slightly higher ground inland] and the unbounded nature of the chalk downland around Winchester that stretched out across the huge area of the South Downs National Park for many miles. Exploring the salt marshes and acquiring a mental map of their structure was a more readily assimilated task then the same for the chalk uplands of Hampshire. Consequently, my sense of getting to know the salt marsh area formed more quickly than the chalk downland as it was clear where the boundaries of this experience existed.

Day 5

A warm and sunny day.
I enacted my usual routine of heading to the Observatory, opening up for a while and chatting to people then moving away to my beach for final thoughts and reflection on my time at the Observatory.

The conclusions expressed in Day 4 were really formed across the whole residency period. It’s difficult to surgically excise particular thought processes, conclusions and realisations into a daily dissection and appropriately allocate a time-line to those events. The process is organic and evolutionary. Thoughts, notions and ideas are with one all the time and come to the fore or recess accordingly as experience is acquired to reinforce or make redundant such notions.

The experience of being on residency and the ‘opening up’ that is necessitated to fully absorb the experience means that no preconceptions can be held as sacred and everything is up for grabs. There is an intimacy in this process; a deep communication between self and environment. When it is complete it is time to leave. That time is now.

MKY 19.08.2015

 

 

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Composer-in-residence to the observatory [1a Winchester Science Centre]

Residency 1: Winchester Science Centre 18th.-22nd. May 2015
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What an amazing five days I have had at the Observatory. Located within the grounds of Winchester Science Centre, facing south and overlooking the rolling landscape of the South Downs National Park, the Observatory buildings occupied a quiet oasis of calm away from the exuberant business and noise of the Science Centre, full of young, excited children [and adults] learning about the world around them on the centre’s displays and interactive installations and gadgets. The acoustics within the Science Centre were akin to that of a huge swimming pool filled with voices, laughter, shouts and hyperactivity; all this contained within the huge pyramidal building and separated from the Observatory by glass and aluminium doors. To the south of the Observatory were a number of very busy main roads. These roads ran below [though out of sight] and across the hills within line-of-sight, contributing a continuous traffic hum that varied in intensity according to the time of day. At times it was so loud you could not hear the sounds of birds twittering from the neighbouring trees.

The Observatory buildings themselves are quite beautiful – not large, by any means, but intimate and intricate. I had the pleasure of sharing the space [whilst I was in the structure] with the very lovely artist in residence, Isabella Martin who’s conversation enriched my experience a great deal as we shared ideas and experiences.

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One of the joys of this residency is its openness to allow the artist to develop work without a preconceived idea of particular outcomes. This lack of pressure to ‘deliver’ to a plan enables a genuine relationship with the environment to grow so that the artist, me in this case, can luxuriate in the opportunity to wander around, look and listen, explore and research all manner of things related to the experience and location. By implication, all sensate experiences and thought are game for inclusion in a finished piece of work. The challenge, among others, is to experience, distill and make choices about what to include and what to exclude from any finished work, a difficult process when there is just so much, so many perspectives to choose from – I knew I was going to write a string quartet [the first of four, one from each of the residencies] and a series of paintings, all site-specifically informed but the rest was a mystery.

Day 1

Day 1 saw me spending most of my time in the Observatory building, acclimating myself to the surroundings and going on a few very close by walks. The weather was not good – cold and showery and very windy. I spent some time talking to Isabella about her working process and planning where to walk on day 2. Isabella had commented on how dangerous it was to walk from the Science Centre onto the footpaths south into the countryside because of the very fast and noisy traffic and because the footpaths had no access without walking along and crossing these very busy roads. I decided to avoid this and drive a little way south, park the car and then walk, avoiding the trauma of the traffic and the noise and getting to experience what I wanted to see – the chalk plateau and download. I only had five days on location so my time was precious. I needed to focus on what was important for my research and go do it!

By the end of Day 1 had had made a few pencil sketches to capture thoughts, sights and sounds on paper as spontaneously as I could.

and a picture of some of Isabella’s work in the Observatory:

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And my drawings:

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I had managed to find cheap overnight accommodation at the ‘Days Inn’, a motel in the Winchester North Services area, southbound M3. It was clean, I had a family room to myself [3 beds; 1 double and 2 singles], my own bath and toilet, tea and coffee making facilities and a flat screen TV. One minute from the motel was the food mall. Mercifully there was an M&S on the premises so I could get decent fresh food to eat. This would become my ‘home’ for the next 5 days.

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Day 2

Walkies time. I drove to a carpark about 4 minutes south from the Science Centre to explore Fawley Down.

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The walk was magnificent. The panoramas wide. From here I could see southwest across to the Solent, the Isle of White and the New Forest. The weather was turbulent, heavy and frequent showers blown along by a keen, cool northwesterly gale.

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I was very lucky, the showers passed to the north and south of where I was walking. They passed in bands creating amazing, atmospheric and rapidly changing plays of light on the land.

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I eventually found a path that turned down into a small valley, away from the high plateau. There were trees and shelter. I could hear the birds; the sun was out and it felt warm and protected. This was a great spot to make my first iPhone video diary:

 
Upon my return to the Observatory I decided to make some more sketches to capture the day’s experiences as spontaneously as possible, almost without any thought at all. I knew these sketches would inform later work with painting and of course, composition:

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Day 3

More walking, this time a little further afield. I wanted to experience some of the more immediately dramatic chalk landscapes Hampshire had to offer, the wild chalk escarpments. After looking at the map and studying contours to find where the best confluence of escarpments could be found, I settled for the area around Old Winchester Hill, south east of the Science Centre. The weather was still showery but the wind had dropped somewhat. I walked around Old Winchester Hill National Nature Reserve and further south and east into the chalk valleys.

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After walking through an enchanting [and enchanted] woodland full of Cow Parsley magically illuminated by dappled sunlight, I moved from the higher plateau area to an escarpment edge that overlooked a magnificent vista with a view of the opposite escarpments stretching away towards Petersfield and as far as the eye could see into the high ground of Sussex. I sat and looked out from this majestic vantage point, had my lunch, smoked a rollie, gathered my thoughts and made my iPhone video diary for Day 3 , then completed some sketching.

It rained.

 

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I also visited the very characterful old village of East Meon and walked around some of the voluptuous hills there. The weather had improved and it became quite warm.

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Day 4

Day 4 saw yet more walking. I returned to an area closer to the Science Centre, Ovington Down and Gander down to the south east not far beyond day two’s walks but bearing south east as opposed to south west – a very different prospect for topography, light and vista. I also walked to the village of Cheriton, near the source of the luminous, trout-filled Itchen, then, following the Itchen way to Tichborne and back in a large circular route. I was back on the chalk’s open, rolling plateau and its gentle valleys and streams.

These days of walking were long but so enjoyable. The luxury of being able to explore with nothing but the land and one’s thoughts for company gave time to connect to the area, to absorb its ambience and structures, sights, smells and sounds. I haven’t before been on any kind of residency and certainly not one as a composer where I have the time to just be, to think without pressure. I found it most therapeutic, as if with each passing day the ‘compressions’ of daily life were slowly lifted and I could expand into the space around me. I write so much music from week to week – every day, and have frenetic spells of painting, too; I’m always doing and making, always thinking about the next project, the next piece of music, organising, planning and thinking ahead. I felt truly in the moment here, perhaps for the first time since I was last in Suffolk on holiday with my partner, staying with composer Gordon Crosse in August 2014. Only there, across a week of slow paced living have I felt that same sense of growth and freedom. I love it!

Having said that, I was aware that there was much effort and consolidation to follow with regard to creating new work and that my time here was spent like a sponge, absorbing everything, thinking about it but allowing myself not to draw any conclusion or more to the point, race to any conclusion. I could feel myself filling up with ideas, impressions and glimpses almost as if what I was aiming for; the paintings and the string quartet could be seen and heard from afar, like a shimira, almost within touching distance, but not quite. Tantalising!

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I summarise my feelings in the Day 4 iPhone video diary – rounding things up on my penultimate day. I ask myself some big questions to which, as yet, I have no answers.

After making the video diary I distilled my thoughts in the now familiar way; through sketches that were this time, unconsciously more heavily landscape influenced than before – perhaps. I allowed myself no more than 30 seconds for each scribble – I was after what was essential, what was immediate in the hope I would capture something more elusive:

 

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Day 5

Consolidation. I chatted to Isabella at the Observatory about my walks and recommended places for her to go. I thought. I thought a lot, with a few cups of coffee, about the past few days and just how full my head head was of stuff – emotional, observational, experiential stuff – and I was excited, too, thinking ahead to the time this experience would settle, consolidate and result in new work. And remarkably, I still didn’t feel pressured about coming up with anything. I knew I would – I always do, but just letting this gestate, ferment away quietly out of consciousness was a strangely enjoyable and confident experience.

I want the work I produce from this first residency to surprise me. I want to develop my practice, my expression in both art forms in some way. I feel that the residency has been deeply enriching.

It is now just a matter of time 🙂

MKY 28.05.2015

 

 

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Gordon Crosse in conversation :: [4]

Gordon Crosse :: in conversation [4]

Recorded August 2014 with Mark Hewitt and Marc Yeats

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For a full introduction to the interviews please see Gordon Crosse :: in conversation [1]

All the interviews can be found here

At well over an hour, this is the longest interview in the series.

On our last trip to Gordon’s it occurred to Mark that we should capture some of the conversations Gordon, Mark and I had about music and life, to share with others, not least because there is a lot of interest in Gordon’s music and life as a composer and very little information about him in recent years. Mark and I talked about this with Gordon and all were in agreement it would be a good idea to proceed.

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There is nothing academic or staged about these interviews. To avoid any formality we decided to adopt a conversational format, over several glasses of wine with an iPhone voice recorder left on the table – to record. The series of four conversations that followed are unedited; clanks, bangs, rattles, pops, jokes, conversation, laughter and all. They are rough and ready but to their advantage, natural, unselfconscious outpourings of life, music and more.

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As well as recording these ‘in conversations’, I decided to take photos around Gordon’s house by investigating its corners, shadows and rooms to reveal something of the history and stories it tells.
 
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We hope you enjoy them.

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Gordon Crosse in Conversation :: [3]

Gordon Crosse :: in conversation [3]

Recorded August 2014 with Mark Hewitt and Marc Yeats

13

 
For a full introduction to the interviews please see Gordon Crosse :: in conversation [1]

All the interviews can be found here

On our last trip to Gordon’s it occurred to Mark that we should capture some of the conversations Gordon, Mark and I had about music and life, to share with others, not least because there is a lot of interest in Gordon’s music and life as a composer and very little information about him in recent years. Mark and I talked about this with Gordon and all were in agreement it would be a good idea to proceed.

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There is nothing academic or staged about these interviews. To avoid any formality we decided to adopt a conversational format, over several glasses of wine with an iPhone voice recorder left on the table – to record. The series of four conversations that followed are unedited; clanks, bangs, rattles, pops, jokes, conversation, laughter and all. They are rough and ready but to their advantage, natural, unselfconscious outpourings of life, music and more.

37
 
As well as recording these ‘in conversations’, I decided to take photos around Gordon’s house by investigating its corners, shadows and rooms to reveal something of the history and stories it tells.
 
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We hope you enjoy them.

131

Gordon Crosse :: in conversation [2]

Gordon Crosse :: in conversation [2]

Recorded August 2014 with Mark Hewitt and Marc Yeats

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Gordon’s cottage in the seclusion of East Suffolk

 
For a full introduction to the interviews please see Gordon Crosse :: in conversation [1]

On our last trip to Gordon’s it occurred to Mark that we should capture some of the conversations Gordon, Mark and I had about music and life, to share with others, not least because there is a lot of interest in Gordon’s music and life as a composer and very little information about him in recent years. Mark and I talked about this with Gordon and all were in agreement it would be a good idea to proceed.

 
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There is nothing academic or staged about these interviews. To avoid any formality we decided to adopt a conversational format, over several glasses of wine with an iPhone voice recorder left on the table – to record. The series of four conversations that followed are unedited; clanks, bangs, rattles, pops, jokes, conversation, laughter and all. They are rough and ready but to their advantage, natural, unselfconscious outpourings of life, music and more. This episode features Mark eating a packet of crisps very noisily throughout the first 10 minutes of our conversation – please bear with it!

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Gordon preparing a late evening snack after our conversation.

 
As well as recording these ‘in conversations’, I decided to take photos around Gordon’s house by investigating its corners, shadows and rooms to reveal something of the history and stories it tells.

 

We hope you enjoy them.

131

Gordon Crosse :: in conversation [1]

Gordon Crosse :: in conversation [1]

In August 2014, my partner Mark Hewitt and I took what has now become something of an annual pilgrimage to Suffolk to visit our very dear friend and composer, Gordon Crosse.

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Gordon Crosse with Mark Hewitt

 

These visits have proven to be an oasis of calm in an otherwise hectic life. Suffolk is a strange land – somehow very cut off from elsewhere, isolated, almost in a different time-zone all its own.

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Gordon Crosse with Marc Yeats

 

The landscape has always been a favourite; gently rolling agricultural land – lots of arable farming, beautiful villages, amazingly historic, well preserved churches, byways and forgotten villages and a desolate, quietly vast coastline of soft crumbling cliffs, expansive reed-beds or long shingle beaches stretching as far as the eye can see. It is a land of horizons and sky – light and shadows. There’s fragility here, too. The land is constantly under threat from the sea – any trip to the sea makes it clear how low-lying much of the coastal fringe is, and where there are cliffs, they crumble with each gentle caress of the waves for they are made of sand, the legacy of vast, ancient ‘petrified’ estuarine deposits easily eroded by wind, rain and of course, the sea. Here you will find lost villages that have been claimed by the sea and the haunted remnants of houses condemned to destruction as they perch and eventually tumble from their foundations above the cliffs to the beach below. There is great beauty and peace here – great quiet, too; one can walk for days.

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Gordon lives in a secluded cottage near an area of rare, protected heathland, cocooned in a small indentation in the land. There’s no standing on ceremony here; Gordon is very relaxed as are his surroundings, reflecting much of his life, past and present. The house is fascinating in as much as it tells you a great deal about its owner, his life and priorities. You’ll find no fitted carpets, fitted kitchens or matching three-piece suites here – no colour-coded bathroom furniture; the house is like a snowball that has collected its content as it rolled through life.

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Gordon is a wonderful host, too, and we always have so much to talk about; music especially. With three composers in the room, all with different musical aesthetics and many shared passions, conversation flows. On our last trip to Gordon’s it occurred to Mark that we should capture some of this conversation to share with others, not least because there is a lot of interest in Gordon’s music and life as a composer and very little information about him in recent years. Mark and I talked about this with Gordon and all were in agreement it would be a good idea to proceed.

There would be nothing academic or staged about these interviews. To avoid any formality we decided to adopt a conversational format, over several glasses of wine with an iPhone voice recorder left on the table – to record. The series of four conversations that followed are unedited; clanks, bangs, rattles, pops, jokes, conversation, laughter and all. They are rough and ready but to their advantage, natural, unselfconscious outpourings of life, music and more.

1

As well as recording these ‘in conversations’, I decided to take photos around Gordon’s house by investigating its corners, shadows and rooms to reveal something of the history and stories it tells.

 

We hope you enjoy them.

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Music landscape and me [5]

14, February 2015

music, landscape and me [5]

meltdown

I’m stepping back in time a few years from music, landscape and me [4] and returning to 1985 when I moved from Teignmouth to Southampton with Jane before moving from there to Skye in 1987. I was 22.

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Totton Powerstation [oil on canvas 30 x 20 inches] as seen from over the water in Southampton, an apocolyptic vision painted in the early 1990s

1985-1987
I hated it – what a depressing place to live. We bought a nice little house but I didn’t enjoy the built-up, rundown, crowded city environment. At the end of our road was a ship-builders and a large, smelly sewage works!

I remember saying to Jane when we arrived on a bleak, damp, dark and foggy night – “I’ll give it two years!”

We were in Southampton because Jane was taking a degree course in medical sciences at Southampton University. Initially we lived in married quarters at the university [very cramped but not unpleasant]. Within a number of months we had bought a house in Swift Road and soon settled into that. After qualifying in Devon as a nurse for people with learning disabilities [1985] I managed to get a very good job working for Mencap as a residential care-worker not far from where I lived. I really enjoyed this work and continued to paint for 30 hours a week as well. But things were far from settled.

During the two years living in Southampton I underwent catastrophic change.

I was still painting landscapes – still the same sort of thing. I had a few exhibitions organised but was badly let down – betrayed even, by several galleries in the south and west and was still messing about trying to break out of the ‘trap’ of representational painting, often with little success, leaving only a legacy of frustration.

My thoughts were turning to composition with increasing frequency, too, but I found nothing but frustration there, as well. I tinkered, wrote a few bits of pieces but was instantly unhappy with the results. I completed little, eager to move on and learn the next lesson. I knew where I wanted to be, or at least the direction I wanted to head in but really had no means of getting there. The disconnect between my inner musical world and my ability to communicate it to anyone else, especially through notation, became desperate.

To add to this, my mind was disintegrating.

It began quietly; fears and anxieties that unsettled me, haunting and taunting from the dark recesses of my subconscious.  This disquieting grew over months until it manifest as relentless waking dreams and visions of such terrible intensity I began to live in constant fear of these scenarios acting out and becoming reality. For some reason I had become obsessed with everything I knew and held dear being utterly destroyed by war; especially nuclear war. The anxiety was continual; I could think of nothing else but civilisation and the world coming to an appalling end. I would see these scenarios when I slept, but also when I was awake – towns and cities flattened, burning, the sky horrific colours after the destruction – death everywhere – it was utter hell. And I was living this every day.

My mind became mangled; it began to affect my daily behaviour. I became physically ill, demoralised, depressed and reclusive. I could see no hope, no reason to continue. The visions and dreams intensified and grew in graphic detail to such a point it became difficult to draw the line between external reality and the reality in my mind. This sounds psychotic, but I was always aware that these things were happening and I was torn between two worlds. I knew something was badly wrong – psychosis, however, is generally a condition the sufferer is unaware of where they think their mental state is normal and everything else around them is wrong. Neurotic, perhaps, but psychotic, no. What was certain was that I was having some kind of mental breakdown.

I remained sane at the same time as being totally terrified. My belief in these visions [I call them that for want of something better – no ‘spiritual’ implications intended] was fuelled by a number of premonitions that preceded and were frighteningly accurate in their specifics and detail. I shared these premonitions, often of significant world events with others before they happened so they who could verify their accuracy and I could rest assured I wasn’t imagining these things or falsifying their potency. I found these premonitions very unsettling and their accuracy only served to make me take seriously the visions I was having in Southampton some months later. I had no idea what was happening, just that I wanted it to stop!

I went to the Doctor – he said stress and prescribed beta-blockers. I didn’t take them. I didn’t know whether I needed a psychiatrist or an exorcist!

Jane supported me through all this. It must have been a terrible strain on her. She used to walk me around the streets of Southampton at night and talk to me – I was so afraid of falling asleep and having the same terrifying dreams.

It was on one of those midnight walks that Jane said something about my [tragically dysfunctional] relationship with my father. I can’t remember the very words just now, but I do remember that what she said made me cry. I am not someone who cries easily – even when I want to, but as I cried I sensed a release – small at first but deeply felt. It was like the first crack developing in a vast sheet of ice.

From that point on, slowly but surely, the balance in my mind between the world outside and the world inside began to stabilise. This was not a fast process; it took 6-8 months with many setbacks along the way, but the general momentum was toward normalisation.

What became apparent, for whatever reasons, was that the very damaging relationship I had had with my father and the psychological and emotional brutality I lived with had scarred me in ways I hadn’t realised. I always thought I got through the bullying, fear and insecurity unscathed. People who knew my background would remark how ‘well adjusted’ I was considering the circumstances of my childhood. It seemed that somehow, a great deal of this damage had associated itself with my fear of everything I had subsequently built [secure relationships, love of music, painting, the landscape] being destroyed – taken away from me. The legacy of insecurity my father had left me had manifest into the horrors of nuclear war . . . . perhaps, and Jane’s comment about my relationship with my father had triggered a release or realisation?

You may wonder why my mother is not mentioned here. She was wonderful but unfortunately died of cancer when she was 44 and I was 15. She could not act as a buffer between my father and me any more. My father made her life a misery for long enough, too.

It also became clear that I had to get out of Southampton to begin a new life elsewhere. I wasn’t out of the woods yet but I knew the right direction of travel in and it was a long way from Southampton!

Around this time and just before leaving Devon I was an avid Radio 3 listener [in the days when they played contemporary music regularly and you didn’t feel the need to submerge yourself in a ‘relaxing’ bath to enjoy it]. What a great resource this was. Armed with my trusty tape recorder and a copy of the Radio Times I would hunt for anything that I thought sounded interesting. I was hugely ignorant of contemporary classical music and those who were working around me; Radio 3 was my contact with the rest of the musical world.

It was through Radio 3 listening that I first discovered the music of Sir Peter Maxwell Davies [and Mahler at the same time] and not the tuneful Max – I first heard Black Pentecost and though it dark and shockingly marvellous and extreme. Not so long after that I heard his 3rd. Symphony of 1984. It still remains my favorite piece of Max’s – its amazingly taunt structure, intense soundworld and desolate, uncompromising beauty haunts me to this day.

This was the first contemporary music I had really heard and it spoke to me. And what a contrast from the English pastoralism I had surrounded myself with before. Here [certainly in the symphonies] was a new language that to my ear at least, still concerned itself with landscape, but this time, through a continually evolving, Sibelian like transformative process, on the surface of its sound, at least. I was so interested to know how it was made, how it was written down. Shortly after this I also encountered Harrison Birtwistle’s music and was equally enamoured and struck by his obsessions with landscape and ritual using an entirely new language that owed more to Starinsky than Sibelius but nevertheless held a monolithic, timeless beauty.

This music somehow resonated with my bleak state of mind at the time and I loved it.

I wasn’t interested in pretty tunes and neat harmonies written by living composers – that had already been done and oh so well by the many ‘dead composers’ who have left the legacy I love. This newfound relationship with Maxwell Davies and Birtwistle helped to move me further towards my goal of being a composer – it inspired me to try and find out how to write down the sounds l heard. I truly had no idea; I also had no access to scores or other musicians to help. 

What I didn’t know I simply made up. This approach has stood me in good stead ever since!

 

New doors – new locations – new techniques for painting and composing were about to open. The catastrophic experience of Southampton was to unleash an enormous change in my painting and open the compositional floodgates!

 

 

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Notation: from drawing to scoring

SEPTEMBER 25, 2012 [updated 14.02.2015]
Notation: from drawing to scoring

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from manuscripts of moving song – score sketch
 


World premiere performance by Zero Theorem: Aisha Orazbayeva [violin], Minsi Yang [violin], Stephen Upshaw [viola], And Patrick Tapio Johnson [cello] as part of DIVAcontemporary’s Sonic Coast [5] at Beaminster School on the 17th January 2015
 
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Structure: When in doubt, draw it!

Finally, after months of thought and deliberation I have arrived at a structural solution for notating the score of my string quartet, now titled ‘from moving manuscripts of song’ (see previous notation related posts).

This title appeals to me especially because of the use of the word ‘manuscripts’ but more especially because of the verb ‘moving’ and noun ‘song’.

The use of ‘moving’ implies a fluidity of execution in live performance that my compositional and notational method aims to capture in the ‘static’ structural representation of the score. ‘Song’ is similarly ideal as each of the quartet voices are indeed ‘singing’ as a choir, independently with their own music, granted, but voices brought together; meshed in, by performing their material ‘framed’ in the same space at the same time as a quartet. The expectation is for an intimate musical relationship between the four players. The nature of this music does not preclude such intimacy but does re-draw the player’s lines of communication and integration, responding to each other spontaneously as the work unfolds and utilising all aspects of their musicality. This relationship is further reinforced by the thematic connectivity within the musical material itself. The fact that the voices are playing independently will be far less apparent when just listening to the music; the outcome will be one of a fusion of interconnected sounds; there will be nothing ‘disconnected’ about it!

As I write in the performance notes on the score:

This music is divided into five sections some of which have sub-sections. The piece should be performed as a continual whole with pauses marking the boundaries of each section.

The instrumentalists play independently of each other. Music is cued to begin only, with no ‘fixed’ synchronisation between the parts other than that which arises spontaneously through performance. Whilst the relationship of each instrument is flexibly placed against its neighbour, care has been taken to calculate potential outcomes of coincidence and to this end it is vital that metronome markings are adhered to as accurately as possible.

Bergersen-Quartet-3_00061from manuscripts of moving song – 3 – as ‘transcribed’ from the drawn sketch above

 
There are a number of sections that operate in very close (almost imitative) canon. Again, no exact synchronisation is intended but players should ‘follow’ each other as closely as possible to approximately maintain the displacement of the instruments consequent of their starting order. If metronome markings in these sections are too fast they should be moderated through agreement with each player so that all can perform at roughly the same tempi.

Compositional material is derived from a series of variations that unify all sections with thematic landmarks. Thematic material is audible throughout the piece, bringing cohesion and structure to the work. This material is at its most radically diverse in the opening section and at its least differentiated in sections 3 and 5, both of which employ the aforementioned close canons. The piece as a whole could be considered as journeying from flux to greater focus although this statement oversimplifies the actual processes involved.

Bergersen-Quartet-1c_00032from manuscripts of moving song – 1c – as ‘transcribed’ from the drawn sketch above
 

I have produced a score for the quartet which is a compromise between displaying all the musical material for each section or sub-section on the same page whilst avoiding the innumerable complexities of trying to notate each part in vertical alignment as represented in real time. The approach I have taken feels further justified as attempting to accurately pin-down the vertical alignment of the parts would go against the ethos of flexibility I have so carefully calculated in the music.

Bergersen-Quartet-4_00071from manuscripts of moving song – 4 – as ‘transcribed’ from the drawn sketch above
 

As a consequence, the score cannot be read in the conventional manner (seeing all instruments sounding simultaneously in vertical alignment) although the progress of individual instrumental parts can be followed in the score. The performance parts for the quartet are notated as normal.

Programme note from the score:

The information below should not imply any programmatic, emotional or imagery treatment within this piece of entirely abstract music. Both title line and later, entire poem were discovered after the music was conceived. Information is given purely to place the title in its proper context.

‘Let Me Enjoy’ is the first of ‘A Set of Country Songs’, the 18 poems which make up the third section of Time’s Laughingstocks, and themselves begin with the seven poems grouped under the heading ‘At Casterbridge Fair’. It is also the first poem in Gerald Finzi’s Opus 19 set of songs, Till Earth Outwears, and Hardy later included it in his Selected Poems, together with a note suggesting that the subtitle ‘(Minor Key’) might not be needed when the poem appeared separately from the rest of the ‘Country Songs’. It was one of the nine poems Hardy chose for the Library of the Royal Dolls’ House at Windsor.

Hardy revised several lines at different times. In the Cornhill, where the poem first appeared in 1909, line 7 read ‘I will find charm in her loth air’; in the first volume publication, this was amended to ‘I will find charm in her uncare’ (a fascinating example of Hardy’s interest in words beginning with the prefix ‘un–‘, of which there are more than 350 different examples in the poems alone: to ‘uncare’ is surely not the same as merely to ‘not care’), before Hardy settled on the final version. In the third verse, ‘moving song’ was ‘rapturous strain’ in the manuscript, and ‘tender song’ in the Cornhill; perhaps more strikingly, ‘dreams’ in line 10 was ‘souls’ in the manuscript and remained so until Collected Poems in 1928. ‘And some day hence’, in the final verse, was ‘Perhaps some day’ in the manuscript and the first volume publication.

Let Me Enjoy
(Minor Key)

I) Let me enjoy the earth no less
Because the all-enacting Might
That fashioned forth its loveliness
Had other aims than my delight.

II) About my path there flits a Fair,
Who throws me not a word or sign;
I’ll charm me with her ignoring air,
And laud the lips not meant for mine.

III) From manuscripts of moving song
Inspired by scenes and dreams unknown
I’ll pour out raptures that belong
To others, as they were my own.

IV) And some day hence, towards Paradise
And all its blest – if such should be –
I will lift glad, afar-off eyes
Though it contain no place for me.

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the shape distance :: did it work? [3]

DECEMBER 27, 2013 [updated 14.02.2015]
‘the shape distance’: Did it work?

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Sketched moment from ‘the shape distance [7].

Did it work?

In short, yes!

In December 2013 I travelled to Atlanta, Georgia, to work with Chamber Cartel as they gave the premiere and made recordings of ‘the shape distance’ [1-7] for seven players.

‘the shape distance’ is a collection of independent pieces, solos mainly, brought together in the one ensemble piece to be played together in an unsynchronised fashion; by this I mean that each of the solo lines plays independently of one another, each having fully notated material written in different tempi and baring structures. There are cues to start the material but after beginning there is no further vertical coordination or alignment; the way the solo lines relate to each other in the performance represent a unique iteration of the piece.

The pieces are composed to be free-standing works, performed as a part of a mixed programme. On this occasion all seven pieces were premiered in the one live event.

In my research preceding the composition I ‘calculated’ the range of outcomes available allowing for ‘natural variation’ or deviation from my ‘ideal’ outcome scenario [this occurring if all musicians followed my metronome markings with complete accuracy]. Of course, musicians are human beings and not metronomes, so I anticipated that the ideal scenario or iteration would never be achieved, as each performance would yield different interpretations of speed with each musician varying their rendition somewhat with each play-through. The variables would be many and this was, in part at least, the attraction that has drawn me to this manner of composition, therefore each performance was the right performance but of course, some would feel more ‘right’ than others.

Players were also given a target duration for the length of their material. This overall timespan allowed the soloists to gauge their speeds across the length of music and acted as a limiting factor that would ensure greater cohesion of the parts in relation to my ideal outcome scenario. Within this, the players could interpret the music fully. Compositional material is [largely] derived from a series of distant variations that unify all sections with thematic landmarks. Thematic material is audible throughout the piece, bringing cohesion and structure to the work. All the instrumental roles are written to a high degree of virtuosity and most contain extended techniques and quarter-tones. The music itself [through the simultaneous bringing together of these individual parts] forms dense, highly complex and constantly changing relationships that are frequently wild and sometimes beautiful.

Like Russian Dolls, the seven pieces all ‘nest’ within ‘the shape distance [7]’. The ‘unpacked’ material represents ‘the shape distance’ pieces. The notated music within all of ‘the shape distance’ parts [solos] remains exactly the same from [1-7]. For example, Flute 1 plays the same music in each of the seven pieces but due to its changed context within the variable instrumental combinations and the unsynchronised nature of the vertical alignments, the Flute 1 material takes on a different relationship and contextual significance within each instrumental combination; in short, it sounds different in different contexts. This applies to all other solo lines as well and is the device that brings aural variation to the set.

As this project developed it also became clear that there was potential to develop more than the 7 originally conceived pieces. What resulted were 14 pieces under the collective title of the shape distance, most of which have now been recorded by Chamber Cartel

the shape distance [1] flute 1 / clarinet
the shape distance [2] flute 1 / clarinet / piano
the shape distance [3] flute 1 / clarinets 1 + 2 / viola / harp / piano
the shape distance [4] flutes 1 + 2 / harp
the shape distance [5] flutes 1 + 2 / clarinet / viola / percussion (1)
the shape distance [6] flute 1 / clarinet / harp / percussion (1)
the shape distance [7] flutes 1 + 2 / clarinet / viola / harp / piano / percussion (1)
the shape distance [11] harp / piano
the shape distance [12] Clarinet / viola / harp
the shape distance [13] flutes 1 + 2 / Clarinet / viola / 2 harps
the shape distance [14] flutes 1 + 2 / Clarinets 1 + 2 / Violas 1 + 2 / harp / percussion (1)

All the above represents my research – my theoretical understanding around how to compose music that would have the unsynchronized freedoms previously mentioned yet still produce a cohesive and satisfying musical experience for the composer, performers and audience.

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More rehearsals at 800 East

The musicians took to the idea of unsynchronised playing immediately. It became clear that playing an independent line as part of an unsynchronised ensemble did not present any major issues other than getting the overall duration of their material correct as per the composers indications. For performers who had practiced intently this did not present a problem as they were familiar with the tempi with which they rehearsed the material in their own practice sessions and this was easily transferrable into the ensemble context. It also became apparent that individual musicians benefitted from being able to ‘play off’ each other within the ensemble and this live generation of sound and their spontaneous reaction to it enhanced the expressiveness of their own performances. This is not improvisation as all the material is fully notated and flexibility lies only in the vertical alignment of each of the parts with musicians given very clear and detailed instructions around expressive markings which needed to be followed precisely at all times for the piece to work. This is of great importance because the aural layering and internal communication governing the parts is as much to do with dynamic markings as it is with tessitura and rhythm. The ‘playing off’ aspect cannot affect dynamic relationships [such as several instruments are playing loudly and my part is marked very quiet so I’d better play it a bit louder to be heard] otherwise the foreground, mid-ground and background of the music’s spatial integrity would be lost. The ‘playing off’ that the musicians referred to enhanced a sense of confidence and musicality that perhaps enabled them to contextualise their performance moment to moment as the inter-relationships unfolded, and amplify their interpretation making it more three dimensional and meaningful. This represented a new and positive experience for the musicians.

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Rehearsals at 800 East

As predicted, this nature of music involves a great deal of personal practice to master the demands of the notation but relatively little time in ensemble rehearsal. For ensembles who are often pushed for rehearsal time, especially when performing more challenging music, this unsynchronised format offers many advantages.

Interestingly, a number of the musicians commented that the music sounded vertically through-composed even when a group practicing their own parts independently in the same space were each starting at arbitrary points in their respective scores. This came as an added bonus and can only be due to the interconnected relationships between the materials in all the parts that cohesively binds them together no matter how they are combined. This was perhaps the greatest vindication that my research had worked in practical terms.

Audience feedback was also extremely positive. Considering the unfamiliar and to some, ‘challenging’ nature of this music such reactions were a bonus.

Finally, out of this rehearsal process came another ‘the shape distance’ piece; number 11 for harp and piano. I had not originally considered this as a combination to join the set. I cannot offer a reason for this but when two of the players suggested that they try their two parts together and see what it sounded like I was very interested to explore their idea. And they were right, it worked and sounded like another addition to the set of pieces. Another Russian Doll had been discovered in the set offering further evidence that the material of ‘the shape distance’ can yield many possible outcomes only some of which have been ‘captured’ here.


‘the shape distance [11]‘ represents one of the calmer combination of the material.


Recordings and downloads of the full set of pieces will be available in Spring 2014.

Marc Yeats is composer-in-association with Chamber Cartel.

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