Who or what inspired you to take up composing, and pursue a career in music?
Since my earliest years, I’ve had an impulse to make up pieces at the piano, and that hasn’t really changed – except that eventually I learned to write them down, and nowadays often play virtual instruments via a keyboard. When enough people started asking me to write them something, it turned into a career.
Who or what were the most significant influences on your musical life and career as a composer?
Musicians and theatre-makers who asked me to write music for them, including dancer/choreographer Clare Whistler and director Jonathan Kent; and who listened, encouraged and offered constructive criticism, notably composers Stephen Oliver and Julian Grant, conductors David Parry and Brad Cohen, opera-directors Graham Vick and Richard Jones. Probably the most significant of all were two people at Glyndebourne, Katie Tearle and Anthony Whitworth-Jones, who commissioned my first published piece (the wind serenade Figures in the Garden), three community operas, and my first main-stage (and most widely produced) opera – Flight.
What have been the greatest challenges/frustrations of your career so far?
Trying to get the current piece to be as good as I believe it can be.
What are the special challenges/pleasures of working on a commissioned piece?
With a commission comes a deadline, without which I never finish a piece. More exciting, there is a date when you know certain musicians will be performing your piece in a particular place. The idea of these wonderful singers or instrumentalists is, in itself, inspiring.
How would you characterise your compositional language?
Pandiatonic, rhythmically driven, singable.
How do you work?
Dreamily and fitfully at first, as vague initial ideas start to emerge; then more continuously, as they gradually turn into stronger, more potent ideas. Mostly I work out pieces at the keyboard, but walking and cycling are also an important part of the process.
Who are your favourite musicians/composers?
Mozart, Stravinsky, John Adams
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
Write the music you want to hear.
Born in 1959 to architect parents, Jonathan Dove’s early musical experience came from playing the piano, organ and viola. Later he studied composition with Robin Holloway at Cambridge and, after graduation, worked as a freelance accompanist, repetiteur, animateur and arranger. His early professional experience gave him a deep understanding of singers and the complex mechanics of the opera house. Opera and the voice have been the central priorities in Dove’s output throughout his subsequent career.
Who or what inspired you to take up composing, and pursue a career in music?
Myself. But then Bernard Rands my tutor and Bill Colleran at Universal Edition (London/Vienna).
Who or what were the most significant influences on your musical life and career as a composer?
Bruno Maderna, Luciano Berio, Messiaen. Historically: J.S. Bach, Webern, and late Mahler.
What have been the greatest challenges/frustrations of your career so far?
They were the 4 major works written for the BBC Symphony Orchestra. I have at least 4 new works still waiting on first performances. But I remain patient.
What are the special challenges/pleasures of working on a commissioned piece?
Time. I work slowly and with painstaking care. My music is sometimes complex and it is crucial that performers receive as near perfect copy of performance materials as is possible. I do my best and I have a fine copyist. UE taught me this, way back in 1972.
What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?
The pleasures are being there for rehearsals. Some conductors are exceptional (Sir Andrew Davis), some work seriously hard (Martyn Brabbins), others you may never wish to see again. New Music Ensembles, string quartets and solo performers have been the most satisfying to work with. Lifelong friendships are made.
Of which works are you most proud?
“WULF” for 24 voices (amplified) and 24 instrumentalists – yet to receive a first performance; “The Attraction of Opposites” for 2 pianos; the orchestral trilogy, “Vixen”, “Qibti” and Phoenix”; “Hey Presto!” written for BCMG conducted by Diego Masson, happiest of all.
How would you characterise your compositional language?
Proudly European but, like Bartok, drawing on cultures further afield and from the distant past.
How do you work?
In my music barn, composing, still, on manuscript paper. However, most work has been carried out in Sicily. The climate, the food and wines kept me going, and going well, so producing the goods. I also found plenty of time to read, to feed my imagination.
Who are your favourite musicians/composers?
Musicians such as Melinda Maxwell – oboe, Simon Limbrick – percussion, Rolf Hind – piano, BCMG, The Arditti Quartet. Composers I already listed as influential on my work. Still living? The works of Birtwistle, Ferneyhough, Tom Ades, David Sawer, Julian Anderson and Sam Hayden interest me.
What is your most memorable concert experience?
Experiences: Simon Rattle conducting all Mahler and some Messiaen with the CBSO, Symphony Hall, Birmingham.
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
Feed your imagination and let it run. I always ask myself the question “What if?” Be your own best critic and bin a lot.
Where would you like to be in 10 years’ time?
Where I am now.
What is your idea of perfect happiness?
Being with the right person and being amongst friends.
What is your most treasured possession?
It is my 40-year-old Pavoni, brass and copper, coffee machine.
What do you enjoy doing most?
Walking the hills.
What is your present state of mind?
Pensive.
Born in Yorkshire in 1945, Vic Hoyland’s earliest interests were in painting, calligraphy and architecture, but after completing an Arts degree at Hull University and a prize winning work was submitted to the BBC, he decided to concentrate on music. Wilfrid Mellers invited Vic to undertake a doctorate at the then new music department at York University where his tutors were Robert Sherlaw Johnson and Bernard Rands. From 1980-1984 he was Haywood Fellow at the Barber Institute, then after two years at York University he returned to Birmingham as a full-time lecturer responsible for MDD, an interdisciplinary programme between music, drama and dance. He was subsequently Professor in Composition at Birmingham until his retirement in 2011. In 2015 he was made Emeritus Professor, in recognition of his longstanding and valued contribution to the University of Birmingham.
Commissions have come from many festivals – Aldeburgh, Almeida, Bath, Cheltenham, Warwick and Stratford, Huddersfield, South Bank and York – from organisations such as the BBC Symphony Orchestra and ensembles such as Lontano, the Arditti Quartet, Lindsay Quartet, BCMG, Endymion and Vocem. Works prior to 1994 are held by Universal Edition (Vienna). Works after 1994 are held by Composers Edition. Works include In transit for large orchestra which, together with Vixen, was recorded by the BBC Symphony Orchestra for NMC records. Most of Vic’s music has been broadcast on BBC Radio 3. The Other Side of the Air and Token are also available on NMC records. The second work in his orchestral triptych, Qibti was premiered at the Barbican on 18 December 2003 and conducted superbly by Sir Andrew Davis.
Who or what inspired you to take up composing, and pursue a career in music?
Probably many things. I remember sitting at home at the piano, playing (I use the term loosely) Bach’s Preludes and Fugues, trying to work out how the hell he did it. Also my parents, teachers at sixth form and university: Martin Read, Michael Zev Gordon, Vic Hoyland and then Diana Burrell at GSMD.
What have been the greatest challenges/frustrations of your career so far?
Unfavourably comparing myself to other composers and artists. It’s so easy to descend into a Facebook-style Scroll of Shame where every successful and sparkly new thing makes you panic and think ‘I should be doing that!’ It is challenging to learn how to be influenced by other people’s ideas and techniques without feeling you have to follow their path.
What are the special challenges/pleasures of working on a commissioned piece?
First of all, commissions are fantastic. Everyone should commission composers AS MUCH AS POSSIBLE! Pieces often take ages to write and there won’t be much decent new music that defines and enriches our time and culture if people don’t commission it.
It is also incredibly motivating to have that deadline and the vision of a future audience at the first performance anticipating your new work.
What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?
I write for a variety of people and situations, from professional singers and ensembles to school or community groups who have to learn things quickly and have fun doing so. Learning what works in what context is a tough skill. It takes a long time to master. I love writing for voice and I’ve been working a lot with solo singers recently. It’s great to have their voice in your head as you write and to think about the shape of the text, the breathing, the pacing and the drama of it.
Of which works are you most proud? My two recently commissioned song cycles, ‘Woolf Letters’ and ‘Early Stroll Songs’, which set Virginia Woolf’s letters to her sister and Ian McMillan’s Early Stroll tweets. I’m also very proud to have produced three performances of my opera ‘The Hidden Valley’ at St George’s Bristol this year, working with an incredible team of artists – I did, however, need a very long lie down in a darkened room afterwards.
How would you characterise your compositional language?
I like to think it’s an English sound, rooted in nature, often starting from melody and the voice.
How do you work?
I work best early. I have a lot of ideas doing other activities (gardening, showering etc.) as it gives space and time for the brain to process ideas. When I was writing ‘Early Stroll Songs’ I got into a routine of starting composing first thing (6.30-ish) for a few hours: At the keyboard, with pencil, Manuscript paper, black tea. I could usually complete 1 short song each day or two. My wife often acts as an editor, offering a second pair of ears to help me hear the music from an audience’s perspective. Later in the day, if not teaching, I would do computer / admin-type work: Typesetting, emails, checking twitter too much, grappling with a labyrinthine funding application etc.
Who are your favourite musicians/composers?
Starting out, my heroes were Bach, Stravinsky, Messiaen, Britten and Steve Reich, but I’ve recently been more drawn to the vocal music of Purcell and Handel, Mozart’s Symphonies, Schubert’s song cycles and the music of David Lang and Laurence Crane. I’m always interested in opera composers and I enjoyed Tansy Davies’ Between Worlds at ENO and Fairy Queen at Iford recently.
What is your most memorable concert experience?
When I was 16 or 17, I went to a performance of Britten’s War Requiem in Southampton. We sat right at the back. After the concert, walking out into the car park, I couldn’t speak. It was such a visceral experience.
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
Listen to and interrogate lots of good music. Like what you write. Befriend performers. Don’t follow advice too much.
Richard Barnard is a composer based in Bristol. He studied at Guildhall School of Music and Drama and University of Birmingham. He has written operas, song cycles and choral works for Welsh National Opera, Opera North, BBC Singers, Bristol Ensemble, Juice Vocal Ensemble, Siân Cameron and others. He has composed music for dance and theatre, and his chamber pieces have been performed internationally by groups including Delta Saxophone Ensemble, Juice Vocal Ensemble and Kungsbacka Trio.
Richard curated the acclaimed new music series Elektrostatic at Bristol’s Colston Hall and Arnolfini for five years. He has taught orchestration and composition at University of Bristol and is one of the UK’s foremost composition workshop leaders, working with WNO, CBSO, London Sinfonietta, Sir Peter Maxwell Davies, Philharmonia Orchestra and Eighth Blackbird.
Who or what inspired you to take up composing, and pursue a career in music?
My parents were both professional violinists, so the likelihood is that I was an embryo even as my mother played in the midst of all the instruments- quite an introduction to music! In addition my aunts were also musicians and so it seemed that music was the stuff of life.
To be a composer was the earliest desire I recall having for myself, although after that I tried many other ambitions as a growing adolescent, including going into politics.
I think a turning point came when I discovered Mahler at age 16, that’s when I understood what music can be more fully than before. Then when I went to study at the Royal College of Music, I was introduced to the avant garde of that time, i.e. Stockhausen etc, and I saw how music can be at the cutting edge. Since then I have attempted to redefine the cutting edge as once again melodious and to rededicate music to what it does best – the expression of emotion.
Who or what were the most significant influences on your musical life and career as a composer?
I would cite the late romantic era as the single greatest influence – the grandeur and vision combined with the emotional intensity are hall marks of that era.
But as a child of the mid 20th century I was also deeply influenced by film music Bernard Hermann, John Barry, John Williams, Ennio Morricone – and of course these were in turn influenced by the late romantic.
I would also mention the great American musicals
Amongst people who have influenced me, firstly my parents who provided an environment in which music making was like the air I breathed, whether it was my parents accompanying one another on violin and piano or playing the Bach double for two violins or my father playing the accordion, or both with my aunts on piano or violin not forgetting my brother on drums, or my older cousin Paul Lewis who is a distinguished composer of TV and film music and now increasingly of concert music. Then I should mention my extraordinary piano teacher in Brighton, the late Christine Pembridge. She taught at Roedean girl’s public school and privately at home in Port Hall.
A remarkable musician and teacher, she transmitted her passion for music with a northern directness. It was she who animated my ability to play and through her I gained direct exposure to the great music of Bach Beethoven Schubert Debussy and Rachmaninov. Among her other pupils, before me, was composer Howard Blake of ‘The Snowman’ fame. Her fine teaching prepared me for the Royal College of music which was my next great field of influence. Here I met contemporaries and great friendship with William Mival, now head of composition there. William was a devoted connoisseur of new music and introduced me to Tippett, Stockhausen and Boulez. I would later go on to rebel against the atonal establishment as I came to see it, but the initial stimulus of exposure to its heartlands and the decade I then spent exploring and writing in its styles was the essential formative experience that made my later enlightenment possible.
Once this rebellion happened I was in trouble but almost immediately found a distinguished friend in the form of the great Estonian composer Arvo Pärt. I was introduced to him in the mid 90s by his publisher and we got on immediately. I believe he identified with my struggle having had a struggle himself to escape the Soviet Union. He liked my music and gave me very direct help by splitting a commission fee with me to write music for the 900th anniversary of Norwich Cathedral. He wrote ‘The True Vine’ and I wrote my Missa Brevis. A remarkable man of vision and personal humanity.
Then a few years later, while working with South Bank Sinfonia I discovered their patron was the legendary Vladimir Ashkenazy when he came to conduct them. I asked for and was given an introduction. We found affinity immediately on the issue of tonality and he wrote to me positively about the music I was writing for the orchestra. Within a couple of years he arranged for my Symphony ‘Elixir’ to be recorded and released on Naxos. He remains a great friend and support.
Another great friend was the actor the late Corin Redgrave of the Redgrave clan.He produced my opera Manifest Destiny at the Tricycle Theatre and Ralph Steadman designed the sets. Corin, an activist campaigner along with his sister Vanessa Redgrave and wife Kika Markham( my close friend) have all supported my sometimes controversial pathway. Without them it would have been much more difficult and lonely.
What have been the greatest challenges/frustrations of your career so far?
For the first decade of my career broadly my twenties i ran an ensemble for the performance and commission of new works, The Grosvenor Group. We made some radio 3 recordings and were well supported by various trusts. Then as I approached 30 I underwent a Road to Damascus type conversion to Tonality as I began to compose more full time myself.
Simultaneously I understood that the unmitigated tonalism of my works would not be acceptable to the new music establishment as serious new music and thus began the greatest challenge of my career.
The establishment view was – and remains – based in the atonal paradigm. To challenge this is the same as challenging any establishment- very dangerous.
I felt that I needed not only to produce the work but at the same time to speak out- or even demonstrate. In particular I became involved in a group who booed a Birtwistle opera in 1994.This produced the most incredible outcry and rumble in the press that went on for years
This was captured on television here
and eventually led me to have to sue News International for libel which I did successfully in 2000.
The in 2003 I wrote with playwright Dic Edwards my opera ‘Manifest Destiny’ about suicide bombers who renounce violence and become peace makers. The press nevertheless accused me of glorifying terrorism , a serious criminal offence. Again I sued this time the Daily Mail Group. I won in the High Court but was defeated at Appeal and bankrupted by Associated Newspapers Ltd
What are the special challenges/pleasures of working on a commissioned piece?
Knowing that it will be performed and I will be paid.
What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?
Having the opportunity to work within a dialogue in which changes and adjustments can be made as part of the working process
Of which works are you most proud?
I would have to cite first ‘Manifest Destiny’. This is a work which aspires to reflect and process the current geo-politics and translate then into a convincing human drama and then transmute the content onto a higher plane of transcendence. In this regard the opera seems to serve its purpose having had over 30 performances and several productions. With Dic Edwards the librettist we also managed to produce a work which has proven prescient to this day.
Also ‘The Year’s Midnight’, a meditation on the Holocaust which was broadcast on radio 4 on the first Holocaust memorial day in 2001; my music in memoriam the 51 people who drowned in the Thames in the Marchioness river boat disaster of 1989, Requiem for the Young; and my music in memoriam the former Leader of the Labour Party John Smith, ‘A Live Flame’ .
How would you characterise your compositional language?
Super Tonal
How do you work?
I type straight into the computer like writing a letter, with no sound, just hearing in my head
Who are your favourite musicians/composers?
Prince, Miles Davis, John Barry, Eminem, Mahler, Bruckner, Wagner, Bach, Elgar, Rachmaninov, Debussy, Mozart, Schubert, Schumann, Brahms, Scriabin
What is your most memorable concert experience?
Karl Bohm conducting the last three Mozart Symphonies with the Vienna Philharmonic in the Royal Festival Hall in 1978 – life changing visionary experience.
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
Music is a unique portal into the human soul
Keith Burstein was born in Brighton, England. He came from a musical family; both parents were classical violinists who played for Sadlers Wells Ballet, The Royal Philharmonic Orchestra, the BBC Ulster Orchestra and the Halle Orchestra as well as for the Royal Opera House. (Originally of Russian-Jewish extraction, the family name had been anglicised to Burston). Burstein held two scholarships at the Royal College of Music in London where he studied composition with Bernard Stevens and John Lambert. Post-graduation, he continued his composition studies with Jonathan Harvey. This was a period of great discovery for him.
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