Who or what inspired you to take up composing, and pursue a career in music?

I’ve liked making up music since I was young. It became the thing I most liked doing, so I just carried on doing it. Parents were always supportive.

Who or what were the most significant influences on your musical life and career as a composer?

I worked for my uncle John Hardy in Cardiff between degrees, and still do from London. He has a refreshing, inspiring attitude to other people and to music.

Many teachers, in various different ways. The performers, writers, directors and other artists I work with. My colleagues and students at The Conservatoire.

What have been the greatest challenges of your career so far?

Picking up work after finishing education. Dealing with uncertainty. Carving out time to compose in. Writing music can be challenging but it’s a relatively familiar, safe space to be in.

What are the special challenges/pleasures of working on a commissioned piece?

It still feels like a huge privilege knowing that someone wants your music – that the notes you’re writing are already wanted by someone. And they’re going to take those notes seriously and invest time and energy and feeling, to bring those notes to life.

Deadlines are useful too, for helping to justify keeping other people waiting for other work!

What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?

I love collaborating with musicians and artists in other fields. Discovering some of their artistic voice, their sound, their craft, their ideas – taking these and digging into them and finding something new for both parties, hopefully.

Which works are you most proud of? 

It’s always the most recent few works, so brass & percussion piece Torque, chamber piece Black Sea, short opera Adrift, unpitched percussion solo Drawing, vocal ensemble piece The Sickness of Angels.

Who are your favourite musicians/composers?

At the moment – Screaming Maldini, Richard Causton, The Organelles, Laura Mvula, Ligeti.

What is your most memorable concert experience?

Thomas Ades’ violin concerto Concentric Paths performed by Pekka Kuusisto with the Britten Sinfonia in February 2012. And many Organelles gigs back to sixth form days!

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

Be genuine. Be resilient. Work with the best people you can. Don’t be satisfied too easily.  Say yes to everything until you can afford to say no to things. Make your own opportunities. Don’t believe the world owes you a living.

Where would you like to be in 10 years’ time?

Here, but with a bit more room.

What is your most treasured possession? 

Dog.

Ed Scolding is a versatile composer with a strong interest in collaboration and drama. His concert music has been described as as ‘subtle and polished’ (Bachtrack) and ‘succinct, witty and apt’ (Norwich Evening News), and film music as ‘intense but under-stated… extraordinarily effective’ (Richard Paine, Faber Media Music).

Recent projects include Thrown for Sinfonia Newydd, percussion solo Drawing which won the Nonclassical Composition Competition, Black Sea for The Hermes Experiment supported by Bliss Trust / PRS Foundation and a score featuring Dermot Crehan’s Hardanger fiddle for short film The Blood of The Bear which has been screened in festivals across the UK and Europe including at the BFI and the Barbican Centre.

Collaborative projects include short opera Adrift produced by Gestalt Arts, work with rock band Screaming Maldini and electronic producer Hem (aka Geoim), a Mozart flashmob for Welsh National Opera, music for Third Stage Dance and for Anna Jordan’s play Freak.

Ed’s music has been recorded by the BBC National Orchestra of Wales, broadcast on BBC Radio 3 and BBC Radio Wales and performed by Exaudi, Music Theatre Wales, London Sinfonietta, Ayre Flutes, Aisha Orazbayeva, Ksenija Sidorova and Anne Denholm at Nonclassical, Southbank Centre, St. John’s Smith Square, Norfolk & Norwich Festival, Monmouth Festival, Cardiff Music Festival, Bath Fringe Festival and Wales Millennium Centre.

A keen teacher, Ed is Assistant Director of Music at The Conservatoire, Blackheath, with responsibilty for the Saturday Music School and strategic direction, and teaching GCSE and A-Level music and music technology, theory, composition, technology courses and workshops.

Living in London, Ed keeps close links to Wales through his work as Publishing, Projects and Web Manager for quintuple BAFTA Cymru award-winning composition company John Hardy Music and sister label Ffin Records. Ed is a Council Member of the ISM and a member of the ISM Special Interest Group for composition. He examines Rock & Pop grade exams for Trinity College London, with exam tours completed in Thailand, Malaysia, UAE and Spain and throughout the UK.

Born in 1985, Ed graduated in 2008 from Royal Welsh College of Music & Drama with First Class Honours then completed MMus Composition with Distinction and the LRAM teaching diploma at the Royal Academy of Music in 2011 with support from sources including Arts Council Wales, Seary Charitable Trust, Ismena Holland Award and Harvey Lohr Award.

www.edscolding.co.uk

DSC_00032Who or what inspired you to take up composing, and pursue a career in music?

In some ways, I feel I’ve always been a composer. When I started piano lessons age six and had my first keyboard, I was far more interested in making up my own tunes than I was practising the ones the teacher gave me. My piano teacher was very willing though, and more than happy to try and notate my early efforts as a composer! One of the things I’ve always been very comfortable doing is improvising and inevitably, that’s where a composition begins. I think there are really two reasons for this: one is that I started accompanying pretty early on; as far back as the top of the junior school I was able to accompany singers and instrumentalists, and as any accompanist knows, the ability to cover a gap, invent an introduction or rescue the soloist is hugely valuable. Secondly, and really following on from this, at the age of 14, I took on the role of church organist, a role which I filled for 12 years. It was at this point where composing became a bit more important as I felt increasingly confident in writing pieces for the groups and ensembles I was working with.

I continued to develop my composing while I was at school, and I was lucky to have music teachers who encouraged and valued this skill (a skill which it seems to me is so-often seen as second rate to performing). I think the pinnacle of this came when in the Upper 6th I was asked to compose the anthem for the school’s Founders’ Day service. I set a text by Ronnie Wilson titled ‘The Time We Have is Precious’ and it was sung by the school choir in Gloucester Cathedral in July 2002. As for composing becoming a career, I guess this was when I first thought about submitting my compositions to publishers. I knew these pieces worked with the individuals and groups I’d composed them for, and I guess I was curious to see whether publishers would feel the same. I think I had my first pieces, Five Fanfares (Fagus Music) accepted in 2004, and as they say, the rest is history!

Who or what were the most significant influences on your musical life and career as a composer?

It’s hard to get away from being influenced by the music we enjoy listening to and playing. Several people have commented over the years that my writing is very ‘English’; not particularly surprising to me as I listen and enjoy an awful lot of English music: it’s part of who I am and it seems natural that it should influence my writing as a composer. Secondly, I think we’re heavily influenced by the musical activities we’ve been and are involved in. My experience has generally been working with amateur ensembles and choirs, often with very limited resources; my teaching also influences what I compose as it gives me an insight into the educational value and appeal of the music I write.

What have been the greatest challenges of your career so far?

I guess the greatest challenge is persuading people that your music is worth trying. Many of the schemes for composers and indeed the emphases in university courses has been to write ‘new music’. This ‘new music’ is, I guess, the music which the BBC commissions for the Proms and leaves out of it is television broadcasts in favour of the ‘classics’. I have, on more than one occasion joked that if I wrote a concerto for empty wheelie bin and silent cymbals, it would be performed and lauded everywhere! I’m not really sure what this ‘new music’ is we’re supposed to write, but I know that the music I write is ‘me’. That’s not to say my compositional style doesn’t change and develop, but it’s still essentially ‘me’: possibly one of the greatest challenges is therefore staying true to oneself? The music I write is, shall we say, pretty conventional? Over the last 10 years, I found in particular that the UK is very conservative in trying things by lesser-known composers; we seem to be very concerned by the composer’s ‘name’ in the UK. Publishers have their ‘house’ composers, something which is not so much the case in the USA where they’re very much more concerned with what you write rather than who you are. This is possibly why the majority of my music is published overseas.

I think that there is huge potential in the internet and social media to get music out there and known, but I also think it has its disadvantages. It’s easy for people to ‘Like’ or ‘Retweet’ your music, but it’s another thing to actually put your money where your mouth is and buy it.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?

There is always a balance to be struck between accessibility and challenge. As I say, I have worked almost exclusively with ‘amateurs’ and I think the music I write reflects that. That, of course, doesn’t mean the music has been dull or boring, but it does have to take into account the skills and abilities of particular groups and individuals. I want performers to enjoy the challenge of learning something new, but I would never want them to lose sight of the act of enjoying making music. Too many challenges in a piece then you’re in danger of being on the wrong side of that line.

Which works are you most proud of? 

Gosh, that’s very difficult to answer! In some ways, I’m proud of them all because they all start from nothing. There are plenty of ideas and melodies which never go anywhere, so finishing a piece is hugely satisfying. I guess we can be proud of pieces for different reason: I’m proud of A Celtic Blessing (GIA Publications, Inc.) not only because it has sold well over 3,000 copies, but because several recordings have also appeared on YouTube (all from the US). It’s lovely to see that something you’ve written is being enjoyed and, more importantly, used. I’m proud of my solo for flute and piano Imagination (David Barton Music) because it was the first piece which generated a PRS royalty! Maybe I’m even more proud of the performers who are willing to give my music a fair hearing?

Who are your favourite composers?

I’ve always enjoyed a hugely diverse range of composers; Walton, Britten, Vaughan Williams, Bax, Moeran, Holst, Howells and Stanford all spring immediately to mind. I’ve always enjoyed early music: Byrd, Tallis, Victoria, Josquin and Penalosa. There’s the tunefully enjoyable Gilbert & Sullivan, and I’ve also a huge respect for light music composers and arrangers: Farnon, Tomlinson, Binge and Morley.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

I know it sounds so simple, but people should listen to more music. I recently catalogued my CD collection: there are over 6,500 individual tracks…that’s a lot of listening. I am always discovering new music. So often, I’ll hear something on BBC Radio 3 or Classic FM and I’ll be off to buy it straight away. I think, alongside that, always being open to unfamiliar music. I think I’ve always been far more interested in individual pieces than a composer’s entire output, so there aren’t really any composers I ‘don’t like’; amongst their output, there are nearly always a few pieces which I do enjoy.

Secondly, and I’ve mentioned it already, staying true to yourself is important. When you compose, like any creative act, you have to give a bit of your inner-self; your compositions take on some of your identity. By all means push the boundaries and challenge conventions, but don’t try to be something you’re not.

Advice for aspiring composers? I think, above all, compose. Sounds ridiculous, but get composing. I think you need to be composing on a regular basis, and where possible, getting feedback on your writing. Don’t just write because you need to produce an A-Level composition; write because you enjoy writing. I have come across students in the past who want to study composition at university, but have only written four compositions: two for GCSE, one for AS Level and one for A-Level. Also, don’t spend so long planning for and dreaming about the next piece that you never get round to writing it. Getting started is the hardest part (the second hardest part is thinking up a title for your piece, but that’s another story…) Start by writing things for people you know or groups you have a link with.

Where would you like to be in 10 years’ time?

Interesting question! I don’t know many composers who are in it for the money, so in 10 years’ time, making more money from composing would probably be a bonus! I think that above all, I hope I’m still doing and enjoying doing what I do now. I get an enormous amount of pleasure and satisfaction from composing, and I hope those to do buy and perform my music enjoy it too.

 

David was born in Winchester in 1983, and has been at the helm of award-winning David Barton Music since 2001. He combines a busy portfolio of teaching, accompanying and composing both from his base in Lichfield, and across the UK.

He was educated at The Crypt Grammar School, Gloucester, where he won prizes for both music and drama. He took a leading role in all the school’s musical activities including choirs, orchestras and chamber ensembles. He also played a significant part in the school’s productions including as musical director for Cinderella and Bugsy Malone. Whilst at the school, he continued his instrumental studies as a pianist, flautist and singer; he also gained the skills and confidence to be an effective accompanist. Whilst at the school he also learnt the organ, and in the latter years, led the music at the school’s assemblies. In November 1998 he played 2nd flute in Malcolm Arnold’s Little Suite No. 2 under Sir Simon Rattle as part of the World’s Largest Orchestra at the National Indoor Arena in Birmingham.

David Barton Music was established during David’s last couple of years at school, and since leaving, he has developed a successful career as a teacher, composer and accompanist. He graduated with a BA(Hons) Open Degree in 2008, and a MEd in 2010, both with The Open University. He also holds the DipABRSM in Piano Teaching and the CertGSMD(T) in Flute Teaching. He was one of the first students to graduate on the Royal School of Church Music’s DipRSCM in Sacred Music Studies course. As a composer, he holds the LLCM and ALCM diplomas from the London College of Music. He is currently reading for a PhD in Music Education at the Institute of Education, University of London.

David has over 100 compositions and arrangements published in the UK, USA and Canada, and thousands of copies of his music have been sold worldwide. These include works for solo voice, choir, organ, woodwind, orchestra and chamber ensembles. Regular performances, particularly of choral works, take place especially in the USA. Publishers include several major companies including GIA Publications, Inc., Spartan Press (Phylloscopus Publications) and Augsburg Fortress. David also typesets and publishes a number of pieces under the David Barton Music umbrella, and these are sold direct via his website.

David writes in a variety of styles, but mainly classical. His music is designed to be tuneful, generally easy-on-the-ear and accessible to a wide range of ensembles, particularly those with limited resources. A number of works have received favourable reviews in Church Music Quarterly, Clarinet & Saxophone Magazine, and Pan Magazine. In 2011, his setting of A Celtic Blessing was selected as one of the prestigious JW Pepper ‘Editor’s Choice’ for that year.

More about David and his music and teaching on his website

Who or what inspired you to take up composing, and pursue a career in music?

I fear my answer may sound pretentious . . . When I was 12 years old there was a single moment when, while out walking, the idea came to me to be a composer and it was an idea which for the first time seemed to make sense of my whole life. It was quite unusual in that it wasn’t an obvious choice – I do not come from a particularly musical background

Who or what were the most significant influences on your musical life and career as a composer?

I see it as much as a vocation as a career. There are very many influences – it’s a life’s work. Anything that helps to reconnect new music with an intelligent audience has been important. I also love the simplicity and rigour of minimalism. Working with other artistic disciplines, especially but not exclusively in opera, has also been very formative

What have been the greatest challenges of your career so far?

Again several. Being true to myself; understanding that recognition needs to come from within rather than without; and seeking a radical artistic path despite composing in a non-modernist idiom.

What are the special challenges/pleasures of working on a commissioned piece?

I think the obvious ones either way. It can be helpful to have a structure and a deadline. Even for the best organised composer creative work can at times be chaotic as well as totally absorbing. Similarly the timing of commissions can be a help or a further challenge.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?

It’s a commonplace of course but the best collaborations are those in which all those involved have a part in the decision making and there’s a huge range within music from individual performers who commission specific works to orchestra members who have little or no choice over what they play. At its best collaboration – the  highest sum of the best parts – can be the pinnacle of artistic work

Which works are you most proud of?

Well, I have put on ice much of my music before 1990. However, I am not one of those composers who doesn’t like to listen to his own music and I am proud of so many of my works since then. A breakthrough piece for me was Paradise Haunts (1994) violin and piano, later (1999) violin and orchestra. The short piano piece Endless Song (1999) is probably my most played work and there is a set of variations for Harp and Strings, Mapping Wales, based on it.  I’m also proud of the song cycle In Time of Daffodils (2006) and my last two operas –  A Chair in Love (2005) and Under Milk Wood (2014). Most composers have their ‘ugly duckling’ work. Mine is Cello Symphony (2004) – only one performance to date but there is happily a recording. (Thank you for this promotional opportunity, I think I’ve made the most of it!)

Who are your favourite musicians/composers?

Bach, Stravinsky, Elgar and Arvo Part are among them and I love listening to new pieces that I don’t know! I have the greatest admiration for new generation of young British performers also. They are really extraordinarily good. It is an odd realisation that the fees for classical musicians have decreased markedly as the standard of playing has increased.

What is your most memorable concert experience?

There have been some very special concerts at the Vale of Glamorgan Festival. The 1996 concert at Llandaff Cathedral with the BBC National Orchestra of Wales and the Estonian Philharmonic Chamber Choir performing Part, Vasks and Kutavicius stands out. Hearing the Kutavicius work – The Last Pagan Rites – prior to that at a cathedral in Vilnius following a very traumatic travel day was also memorable. Finally the premiere of Under Milk Wood: an Opera on April 3rd 2014 is still fresh in my memory

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

I think, excellence. As few compromises as possible. Never the middle ground, always the high ground. And spend as little time as possible teaching, administering, examining – crucial, wonderful skills though those are – and as much time as possible be it on composing or playing.

John Metcalf is a leading Welsh composer who has composed major works in many musical forms. While his cultural roots are in the heart of Wales, his work has a broad international following and is represented in a growing catalogue of recordings.

In 2009 he received one of four inaugural Creative Wales Ambassador Awards from the Arts Council of Wales. The awards recognise artists’ achievements, their standing in the arts in Wales and their capacity to push the boundaries of their art inherently as form and as a point of contact with contemporary Wales.

2010 highlights included the release in September by Signum Records of the ‘Paths of Song’ CD, containing Septet, Llwybrau Cân (Paths of Song), Castell Dolbadarn (Dolbadarn Castle) and Mapping Wales and a recording of his six piano palindrome Never Odd or Even in a multi-track version by Dutch pianist Jeroen van Veen on Brilliant Classics 9171/7. On October 29th his new saxophone quartet On Song was premiered by the Lunar Saxophone Quartet at the Riverfront Centre, Newport. Several performances followed and the work was also released on Signum Records SIGCD233.

In Her Majesty the Queen’s 2012 New Years Honours List John was awarded an MBE for services to music.

www.johnmetcalf.co.uk

Who or what inspired you to take up a career in music?

As a teenager I was lucky to have Jeremy Carter as my piano teacher. I also revered the rock’n’roll pianism of Jerry Lee Lewis (and still do).

Who or what were the most important influences on your musical life and career?

I struggled during my first couple of years on the demanding joint course between Manchester University and the RNCM, but my third year was something of a revelation. I learnt reams during my piano lessons with John Gough (including, crucially, a fresh and non-stuffy approach) and also took composition lessons with John Casken and lectures in postmodern music from Kevin Malone and Shostakovich from David Fanning. It was at this point I knew I didn’t want to do anything else. Fulbright studies in the US with Ursula Oppens sealed the deal.

What have been the greatest challenges of your career so far?

Juggling a range of disciplines and trying (hard!) to excel in all of them. Alongside piano I compose frequently for many varied ensembles (that, strangely, hardly ever include piano – for example this one) and I regularly conduct performances of (mainly) new music. My work with CoMA (Contemporary Music for All) is really important because it involves getting amazing people from all walks of life participating in the music, and I also serve on the board of the Riot Ensemble in order to get the most cutting-edge of this stuff out there in concert. I love teaching and am lucky to supervise over 80 groups of all styles and genres as part of my role as Head of Chamber Music at the University of Chichester, and I also have a clutch of brilliant and talented students at the Junior Royal Academy.

Which performance/recordings are you most proud of?

I played Rzewski’s colossal ‘The People United Will Never Be Defeated’ in three venues last year, and I think I am proud to have scaled that particular pianistic mountain (although I haven’t been brave enough to listen to the recording yet!). I’m also pleased to have performed Lutoslawski’s terrific concerto – here’s a clip of the ending in my performance with the Northwestern Symphony Orchestra and Victor Yampolsky.

Which particular works do you think you play best?

Probably pieces by Shostakovich. I relate well to nervous energy, tragedy…. and comedy!

How do you make your repertoire choices from season to season?

Whatever I think will be fun to prepare and fun for people to listen to.

Do you have a favourite concert venue to perform in and why?

Hmm, tricky one. I like venues where it is easy to blur the boundaries between the performers and the listeners, so it’s more of a community experience. Maybe St Martin-in-the-Fields?

Favourite pieces to perform? Listen to?

Kevin Malone wrote me a wonderful and hilarious piece involving plenty of theatre called Count Me In. You can watch a performance here. I also love the sound of wind orchestras and have been lucky to have been involved in quite a few over the years. You can’t beat the Americans for their brass sound.

Who are your favourite musicians?

I’d have to include Pierre Boulez – a great musical polymath with an amazing conducting style. You can see every single composerly detail in the gesture. My American conducting teachers (especially Mallory Thompson) taught me the importance of this. At other ends of the spectrum I love Eddie Cochran and The Who.

What is your most memorable concert experience?

Probably my first outing of Amy Beth Kirsten’s ‘Speak to Me’ in which I have to adopt the persona of two female goddesses as well as play some really imaginative piano music. (You can listen to a performance here.) I’m playing this again in a Riot Ensemble concert on January 30th.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

Just to give 100% energy and commitment to whatever is being asked of you, however big, small or unusual.

What are you working on at the moment?

This morning, the John Ireland ‘Phantasie’ Trio. I play in a piano trio with Ellie Blackshaw (violin) and Peter Copley (cello) and we are on a mission to present all three of the Ireland trios. They are wonderful and really reek of Sussex, which is where I live.

Where would you like to be in 10 years’ time?

Doing the same sorts of things, but with less anxiety about note learning/ preparedness.

What is your present state of mind?

Anxious about note learning/preparedness!

Adam Swayne works with a vast range of musical media and styles that go beyond conventional labelling. He is just as at home giving a solo piano recital or conducting an orchestra as he is organising musical installations in art galleries or composing for amateur ensembles. He takes an inclusive, informative and innovative approach to his music making that is drawing an increasingly large audience.

Adam is a graduate of the joint course between Manchester University and the RNCM. He gained first class degrees from both institutions, and an MMus from the RNCM. Manchester University gave Adam their highest award (Sir Thomas Beecham Medal) along with other prizes including the Recital Prize. Prizes from the RNCM included the John Ireland Prize and an award for performances of contemporary music.

In 2003 Adam was awarded a Fulbright Scholarship to begin doctoral studies at Northwestern University, U.S.A. He graduated in 2006 with distinction, having presented several U.S. premières of works by British composers.

Adam is now Senior Lecturer and Head of Chamber Music at the University of Chichester and piano tutor at the Junior Royal Academy of Music.

Adam’s Swayne’s full biography can be found on his website:

www.adamswayne.com

Joanna Marsh

Who or what inspired you to take up composing, and pursue a career in music?

Although I have composed from as far back as I can remember, I went into teaching and organ playing after university, as I had no role model in composition and no understanding of how a person would forge a career doing that. It really was Judith Bingham, who I met in my thirties, who helped me make the transition to being a professional composer. She had a very practical and down to earth approach but she was also very inspiring and I felt a strong affinity with the way she thought about music.

What have been the greatest challenges/frustrations of your career so far?

I find that as a composer living in Dubai, I need to be highly proactive. You can’t sit around waiting for commissions to find you, you need to think up interesting projects and connect with people who can help make them happen. And actually it has been challenging living in a society that has no government funded performing arts sector as the priorities of a nation do largely filter down from the top. There are no professional orchestras or musical institutions in Dubai so the natural places for a composer to find work don’t exist. Things are subtly changing but Islamic Art and local Arabic Music will always be first in line for attention, which is probably as it should be.

What are the special challenges/pleasures of working on a commissioned piece?

The commitment and investment of others in a work is often very helpful. Composing is very solitary and although there may be collaboration at the point where you meet the performers at the first rehearsal, generally you spend many hours alone in a room working on the music, thinking hard and crafting ideas. A commissioner will provide an initial direction for these ideas through the occasion of the performance and musical forces offered. And then of course, they provide the most helpful thing of all, a deadline! I have been lucky enough in that no commissioner has got in the way of the piece so far. I have colleagues who have had their commissioners move the goalposts during the compositional process (actually we need a different length, sorry it needs to be for strings not brass…!), which can really create havoc.

How do commissions generally come about?

Lots of different ways. Sometimes people have heard something of yours that they like and get in touch. It is usually the performers in this case. But sometimes you happen across people looking for a way to mark a special occasion or anniversary who may not be the actual players. You suggest some ideas and it dawns on them that creating a piece of meaningful art could give relevance and immediacy to something they care about. Always at some point in the process ideas are discussed that catch a spark of excitement that lead the potential commissioner to think this work should definitely go ahead, and you should be the one to do it.

With my last piece, Rupert Gough, Director of Choral Music at Royal Holloway, came to performance of Act 1 of my opera My Beautiful Camel with National Opera Studio last May. That work was in collaboration with David Pountney who wrote the libretto from a story I had devised. Rupert mentioned that they were looking to commission a piece about the suffragette Emily Davison, who was an alumni of the college, for a date in January with the London Mozart Players. I remember excitedly telling David, who instantly poured forth a number of fantastic ideas for a choral depiction of the famous Epsom Derby incident. I could see that a musical record of the entire occasion and its aftermath could make a very interesting cantata and indeed it captured the imagination of Royal Holloway so they decided to go ahead.

You’ve collaborated with librettist David Pountney to create a work which celebrates the 100th anniversary of the Representation of the People Act, which first gave women the right to vote. Can you tell us a little more about the piece?

The cantata ‘Pearl of Freedom’ tells the story of suffragette Emily Davison’s ultimately fatal collision with the King’s horse Amner at the 1913 Epsom Derby. It opens with words that Emily Davison wrote in her diary about her passion for women’s suffrage. She uses the expression ‘Pearl of Freedom’ to refer to the prize that she was seeking, women getting the vote.

David created a text from original sources, juxtaposing factual elements from the day (the horses names, the riders, their numbers, their colours etc), with Emily Davison’s state of mind. He also includes commentary from various contemporary voices including King George V, the police sergeant on duty who listed Emily’s recovered possessions, and the Press. The only bit of text he invented is the race commentary before the collision between Emily Davison and the King’s horse Amner. He wrote this section in the style of Peter Bromley, a race commentator of a slightly later era, because no such live commentaries exist from this period.

Emily Davison was regarded as a loose canon within the Suffragette movement. Her militancy and extremism had considerably alienated the public. The work opens with jagged rising line of unison strings suggesting the intensity and turbulence of Emily Davison’s state of mind as she prepared and carried out her plan. She evidently knew that her actions would be far-reaching as she had commented to a friend that they should look at the press the following day. Her purchase of a return ticket to the Derby suggests that she was not planning to endanger herself fatally, however. The piece is around 20 minutes long and the final episode of the piece is devoted to Emily’s funeral, which was a very large scale public affair with 50 thousand people in attendance. The music of this section takes the form of a funeral march based around one of the hymns that was sung on the day “Nearer my God to Thee” with echoing quotes from Chopin Funeral March which was played throughout the procession.

How would you characterise your compositional language?

It’s easier for a composer to explain the intentions behind the creative process than to describe the outcome, which is the listener’s experience. But there are a few general points. For example I am certainly drawn towards tonality. I like the gravitational pull of it but always try to look for a means of expression that is not the obvious. I also enjoy using snap-shots of ideas or idioms from old or ancient musical works that can impart flavour but take off in a different direction in my own music. Development is important to me, I aim to find a strong idea and work it through fully in a piece. Clarity of structure is critical. An interesting or quirky idiom is just an empty costume when there is no actual body to inhabit it. And line is essential, it carries the energy that is the piece.

How do you work?

I work best with a deadline that is not too far away, or at least with some mini-deadlines to help me measure out the time! Usually I find a long time needs to be set aside for the pre-compositional process. This is when the idea of what the piece is going to be gradually appear as if out of the mist. When I start the actual writing I always find that the first two minutes seem to take an inordinately long time, much longer than any other section of the piece. It feels like ploughing a furrow for the very first time. After that the composing seems to move on much quicker, probably because the ideas to be developed further are distilled by then. And I always have to remind myself not to panic as I start to get to the end of a piece. Endings are difficult. They feel like bringing a plane into land; too easy to make a bumpy landing and you really don’t want to crash.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

You need to be open to what life brings you in the most general terms. We can all get a bit fixated on what we think our careers should look like and look to our contemporaries for a benchmark. It is not helpful. Don’t just think of the next thing coming up as the real opportunity, better than what you are doing now. What you have on your plate NOW is the opportunity; focus on that and the future will take care of itself.

Where would you like to be in 10 years’ time?

I have been surprised by how much I have enjoyed living in the Middle East and I hope my connections here will still be alive and well regardless of whether or not I am still living here. Otherwise really I just want to be getting up each morning excited about the projects on my desk. That would be more than enough to ask for.

31st January sees the world premiere of ‘Pearl of Freedom’ by Joanna Marsh, a cantata which tells the story of suffragette Emily Davison and her death at the Epsom Derby under the King’s Horse. This coincides with the 100th anniversary of the Representation of the People Act of 1918, in which women first gained the right to vote. 

 


 

www.joannamarsh.co.uk

Who or what inspired you to take up composing, and make it your career?

My main motivation for composing has been the arrival of my children, which although taking up a great deal of time – has been a constant source of inspiration. In addition to this, I am very inspired by the countryside. When I began composing my latest album ‘Summit’, I was living very close to Richmond Park and I took much inspiration for the music during misty morning walks in the park. I am also very inspired by the area close to where I live now and I have tried to reflect the openness and beauty of the Chiltern Hills.

Who or what were the most significant influences on your musical life and career as a composer?

I have been greatly influenced by working with my piano and composition students who have drawn my attention to all manner of composers and musicians both in ‘pop/rock’  genres and classical. I have also been influenced by working with rock and jazz musicians in a band environment where freedom of expression is sought and encouraged.

What have been the greatest challenges of your career so far?

Recording my last album ‘Summit’ took a great deal of time and patience over many months.

What are the special challenges/pleasures of working on a commissioned piece?

Commissioned work is an incredibly challenging task as often you do not have sole creative input into the final work. It is a collaboration of at least two or more people all with differing opinions on the final outcome. These challenges can be incredibly rewarding however and can lead to unexpected outcomes.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?

Composing can be a lonely pursuit so I always enjoy collaborations with other musicians. in 2008, I worked with a singer on an album of folk music which was a really enjoyable collaboration.

Which works are you most proud of?

I am most proud of my latest album of solo piano music ‘Summit’ written to reflect my love of the countryside and dedicated to my one year old daughter. Although I have released it as a CD, I primarily wrote it with the pianist in mind. I am very keen that my music should be interpreted and re-composed by the pianist.

Do you have a favourite concert venue?

I love venues which are ‘unconventional’ like outdoor venues. Last year I performed in a disused barn in the middle of a corn field which was great fun and very atmospheric.

Who are your favourite musicians/composers?

I love Bach for the truthfulness and inventiveness of expression. In particular, I am incredibly impressed by the way they solved structural problems in seemingly effortless ways. Modern composers I have taken influence from are John Tavener and Yann Tiersen.

What is your most memorable concert experience?

Watching sir Simon Rattle conducting Beethoven’s 5th (from the choir stalls so I could see every expression on the conductor’s face) and feeling my daughter wriggle in my wife’s belly.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

Take advice and instruction in an objective and critical way. It is important to remember that ‘you’ are the musician – it is your creativity and musicianship that are the most important aspects of your performance or composition.

What are you working on at the moment?

I am busy working on my second album of solo music, due to be published in late 2015.

What is your most treasured possession?

My piano and my violin.

www.rogerproctor.com