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?
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.
Read more at Vic Hoyland’s website