A party and a pledge - celebrating ten years of At Lunch

If you've ever sat in the audience of one (or more) of Britten Sinfonia's At Lunch concerts then you'll recognise the feeling of anticipation when a new piece of music is about to be premiered. Think about it: your ears are some of the first in the world to encounter what is going to be played, as a member of an attentive audience silently waiting to experience something new... And if you haven't had the pleasure yet, what are you waiting for?!

Britten Sinfonia is committed to commissioning music from some of the world's most established names and the best emerging talent. You'll find a huge variety of new music throughout each concert season, interwoven with the more familiar. So far in 2015-16 the orchestra has performed new music from the OPUS2015 winner Edward Nesbit, Anna Clyne and Daníel Bjarnason as part of its At Lunch series, which has been shedding light on new music for ten years, with five programmes to explore each season.

Britten Sinfonia musicians cutting the cake at the 10th anniversary party

In celebration of the tenth anniversary of the At Lunch series, on 20 January we hosted our own birthday party after the Wigmore Hall performance of Anna Clyne's This Lunar Beauty that included bubbly, balloons and of course, cake! We welcomed composers whose works had been premiered over the last ten years and displayed some of their scores as a mini exhibition. Since the first concert in October 2005 at Cambridge’s West Road Concert Hall (where every single At Lunch programme has been performed) there have been 43 new works premiered in 157 performances. Our Principal Cellist, Caroline Dearnley has performed in the most At Lunch programmes (33) and she joined us at the party alongside some of her fellow musicians and those who have helped make some of our music commissions possible: generous individuals who have donated to Britten Sinfonia’s Musically Gifted campaign.

A selection of scores from the past ten years

Since launching in 2013 Musically Gifted has raised nearly £50,000 from 135 individuals who have chosen to be part of new music from as little as £10. Ten of the lunchtime commissions have been supported through this scheme. At the party, we launched match-funding for the Musically Gifted campaign to the tune of £10,000 thanks to a generous, anonymous individual who wanted to boost our commissioning campaign for new music this year. If we are able to raise £10,000 before 31 March 2016 from people like you, we will be able to claim the generous pledge of the same amount. This means we need your help. From £10 to £1,000 every gift will help us get closer to our target. You can support Bryce Dessner, Elena Langer, Kenneth Hesketh, Sohrab Uduman (OPUS2016 winner), or Mark-Anthony Turnage, four of whom will feature in our up-coming At Lunch concerts.

So far we've raised £5,650 towards the £10,000 target (since 20 January) but your donation really will make all the difference and help us cross that finish line. We'd like to thank: Pauline Adams, Stephen & Stephanie Bourne, Robert Clark & Susan Costello, Eduardo G. Melguizo, Susan Maddock, Simon & Jenny Martin, Patrick Meehan, Trissa Orange, Sue Prickett, Judith Rattenbury, Roger Rowe, Paul Sackin, Barry & Ann Scrutton, John Stephens, Richard & Fiona Walford and three anonymous donors for helping us to get this far. 


A huge thank you to everyone who has supported Britten Sinfonia’s At Lunch series over the last ten years and all our composers and musicians who have performed so wonderfully. We’ve welcomed more than 25,000 of you to hear new music at lunchtime and hope to see many more of you in the coming seasons.

For more information about Musically Gifted and how you can be part of new music visit www.musicallygifted.org.uk and don’t forget that if you donate before 31 March 2016, your gift will qualify for match-funding and will be worth twice as much to Britten Sinfonia’s new music campaign.

Edward Nesbit - our OPUS2015 winner's story

I have had the pleasure of working with Britten Sinfonia for almost twelve months.  Back in December, the twelve composers who had been shortlisted for Britten Sinfonia’s OPUS2015 scheme enjoyed a workshop with the horn player Richard Watkins, where we discussed every aspect of the horn, from extended techniques to, if I remember correctly, the treatment of the horn in Mussorgsky’s Pictures at an Exhibition.  

Most of us were at that stage in the middle of composing extracts of music for horn trio, all of which were workshopped by Jackie Shave, Huw Watkins and Carys Evans in January this year.  Over the course of an intense weekend, we heard what everyone had produced – which amounted to the best part of an hour of music.  It was a very interesting – and very diverse – selection of pieces, and made for a lively and fascinating couple of days.

I was delighted to be chosen as the winner, and as a result have extended my original three-minute miniature into a full-length piece.  The resulting work, Lifesize Gods, was workshopped again more recently, and following that workshop I have given it a final few tweaks in advance of the premiere.  From here on in it will be the most exciting part of the process, and, for me at least, the easiest: I can now more or less simply sit and listen to the results.

One of the interesting challenges of writing a horn trio is the small number of previously written horn trios which have entered the repertoire.  While I have come across a number of very fine horn trios while writing my own, there are only two works which have firmly entered the repertoire: those by Brahms and Ligeti.  As a composer this situation brings both advantages and disadvantages.  There are fewer models to which I might turn for inspiration – but, on the other hand, there is not the weight of history that one has to deal with when writing, say, a string quartet.

It is interesting, then, that I will be sharing a programme with another new horn trio, by Huw Watkins.  I was, as it happens, at the premiere of Huw’s Horn Trio in 2009, and vividly remember the impression it made on me then; it will be a great pleasure to have the chance to hear it again live – three times, no less!  It really is a fantastic piece, and is an important addition to the repertoire which will doubtless continue to be performed for many years to come.   Huw and I are very different composers, however, which is probably no bad thing, given that we will be appearing in the same programme.  While Huw’s piece is lyrical, contrapuntal and full of contrast, my new work is, for the most part, transparent, almost obsessively single-minded, and extremely quick.

Britten Sinfonia have generously invited me to continue my involvement in the scheme, and next week I will be working with Julian Philips to choose the ten composers who will be shortlisted for OPUS2016.  This is something very new to me, but something that I am looking forward to immensely.  A total of 287 composers have submitted applications.  It’s a daunting number, but is testament to the fantastic nature of the opportunity that Britten Sinfonia are offering – and I’m sure it will be much harder to leave people out than to find people to shortlist.

Another aspect of my involvement with  Britten Sinfonia has been being a part of Musically Gifted.  Musically Gifted is a scheme which facilitates philanthropic donations to help fund commissions.  People can donate anything from £10 to £1,000, and all donors receive rewards, from thank you cards all the way up to invitations to rehearsals and social events with performers and composer.  The issue of how to fund contemporary music is a complex one, and many composers are unable to earn anything like a living from their composition work.  Musically Gifted is an imaginative and valuable contribution towards improving this difficult situation.

Lifesize Gods is being performed at Britten Sinfonia’s At Lunch Series in St. Andrew’s Hall, Norwich, on 27 November; West Road Concert Hall, Cambridge, on 1 December; and Wigmore Hall, London, on 2 December.  It promises to be a fantastic concert! 

Edward Nesbit - OPUS2015 winner

Click here for more details and booking for At Lunch One, which features Edward's new work, Lifesize Gods.

Anna Clyne on composition

In January 2016 Britten Sinfonia premiere a new work by Anna Clyne, commissioned by Britten Sinfonia and Wigmore Hall with support from the Britten-Pears Foundation, for our 10th anniversary At Lunch series. Anna is one of the composers you can support through the Musically Gifted campaign. Find out more about Anna in this blog post as she answers questions about herself and her music...


What’s your earliest musical memory?
My earliest musical memory is hearing my mother signing nursery rhymes. My first deeply moving experience of a live concert was hearing Nigel Kennedy perform Beethoven’s Violin concerto.

What do you like most about composing?
It’s a wonderful opportunity to meet and collaborate with other artists, and to get lost in one’s imagination.

What inspires you?
I find inspiration in a myriad of things – it’s different for each piece – it could be a choreographer, an artist, an image, or a simple melody. I’m about to start work on a new piece for one hundred cellos, so for that piece it will be the very unique sonority, and how the lines interact, that will inspire the piece.

What advice would you give to aspiring composers?
Stick with it! A career in music takes time – it’s still very much a grass roots trajectory, building relationships with musicians, composers, conductors, artists and ensembles. Work closely with friends who are musicians to learn the intricacies of writing for those instruments, find like-minded artists, take risks in your music, and reach out to other artists that inspire you.

What’s your musical guilty pleasure?
When I’ve finished a day’s work of composing, I like to blast something completely different to cleanse the ears – something upbeat, and often with lyrics so that I can sing along whilst I’m closing up shop. Fitting the bill have been Lily Allen and Mae West, or if I’m after something a little calmer, I’ll call upon Nat King Cole or Nina Simone.

If you turned your iPod on now, what would be playing?
My musical appetite is all over the map, but most recently I listened to Roomful of Teeth – I’m finishing up a new piece for them and have been listening to their latest album to find inspiration in their unique sound. I’ve also been listening to vocal music by other artists/composers such as Trio Mediaeval, Clarice Assad, Purcell and Bernstein.

The last concert you saw?
Last weekend, I heard two totally different, but totally wonderful concerts – the Baltimore Symphony performing Rachmaninov’s Rhapsody on a Theme of Paganini with soloist Olga Kern, Strauss’ Alpine Symphony and the East Coast premiere of short piece of mine, Masquerade, under the direction of Marin Alsop – followed the next day by Tree of Codes with music by Jamie XX, choreography by Wayne McGregor and visuals by Olafur Eliasson in New York.

If you hadn’t been a musician, what might have happened?
I’ve always had a wide range of interests. If music weren’t an option I would have loved to study more languages and if I had a completely different skillset, I would have loved to become an astrophysicist. 

Which musical instrument do you wish you could play, and why?
I’m a rusty cellist, but I wish I could play the fiddle well. There’s something about folk music that I’ve always loved – from Scottish tunes heard during my time at Edinburgh University to old-time music and the blues in Chicago. It would be great to be able to pick it up and play. And it’s so much more portable than a cello!



Anna's new work will be premiered during our At Lunch series in January and will feature soprano Julia Doyle. Performances take place at Norwich's St Andrew's Hall on Friday 15 January, Cambridge's West Road Concert Hall on Tuesday 19th January and London's Wigmore Hall on Wednesday 20th January. Click here for more info and to book tickets.



This Lunar Beauty by Anna Clyne has been commissioned with support from the Britten-Pears Foundation.

Meet Elizabeth Hunt

In another post in our occasional series of Q and A's with soloists, musicians and staff our Development Manager, Elizabeth Hunt answers a few questions. Elizabeth (otherwise known as Izi) is responsible for all our fundraising initiatives from individual donors to our friends scheme, to raising funds towards commissioning new works.

When are you happiest?

At home (I’m a bit obsessed with my house, as it’s my first and I only moved in 6 months ago!) in my garden reading a book or magazine with a cup of tea, listening to the birds sing!

What is your greatest fear?

Losing my family or experiencing a natural disaster first-hand. But I try not to think about those things, so I don’t really have a ‘greatest fear’ in the sense that it affects my day-to-day life. Hopefully no-one really has those!

What is your earliest musical memory?

My elder sister practising for and singing in a school nativity called ‘Hosanna Rock!’ in a little church in the village where we both went to primary school.

Most treasured possession?

I have a few! I am very sentimental so I have quite a lot of things that I hold on to and like (possibly also known as junk) but one thing I love is a little figurine of a dancer (called Esmerelda), which belonged to my grannie – I think it was the first gift that my grandpa gave to her when they were courting in the 1950s. And my house (or more realistically my mortgage?)

What would your super power be?

Being invisible might be quite fun… The power to convince everyone that environmental problems matter and they should take care of the environment, especially bees. Basically I’d be Bee Woman! The environment is so important and there’s so much more, even small things, that people can do to help preserve biodiversity and the planet, so it would be good to have greater influence on that.

If you were an animal would you be?

Giraffes are my favourite animal but I’ve always liked the idea of being a cat, so I could sleep all day in the sunshine. In a garden.

What is your favourite book?

For a while it was The Time Traveller’s Wife (Audrey Niffenegger), and then I read The Luminaries (Eleanor Catton). And The Rehearsal (also by Eleanor Catton) was great – though I’m still trying to work it out so I’ll definitely be reading it again... I’d happily take these three to a desert island and read them over and over.

What is your guilty pleasure?

Eating too much chocolate and too many cakes and biscuits in the office!

What is the most important life lesson you have learnt?

Never accept anything, or anyone, for that matter, at face value.

What is the first thing you do when you get into the office in the morning?

Check my work emails, log in to Raiser’s Edge, and see if anyone has already made a round of tea!

What has been your biggest achievement so far during your time at Britten Sinfonia?

Managing the Development Department for a couple of months while we were between Directors. And tidying the stationery room.

Favourite musical moment from the Britten Sinfonia concerts you have been involved with?

Well it’s a favourite music and dance moment, but definitely See the Music, Hear the Dance in November 2014 at Sadler’s Wells.

What was the last piece of music you listened to?

It was probably something on Jamie Cullum’s jazz show on Radio 2. And I’m hugely excited to be seeing Punch Brothers live this weekend.

What is your favourite item on/around your desk?

My plant, known as Wilma, who my lovely colleague Karys bought for me! (see picture)

Would you like to share a desk selfie with us?
Yes!

To find out more about the work of our development team and how you can support Britten Sinfonia click here

Elena Langer on composition

In April/May 2016 we premiere a new work by Elena Langer, commissioned by Britten Sinfonia with support from the William Alwyn Foundation, and the Musically Gifted campaign. Find out more about Elena in this blog post as she answers questions about herself and her music...


How would you summarise yourself in one sentence?
Impulsive

What’s your earliest musical memory?
My granny’s drunken singing at parties

What do you like most about composing?
As a child I preferred composing to playing piano because it was less repetitive and took less time

What inspires you?
Bad weather

When was the last time you experienced writers’ block, and how did you move on from it?
Last block was last week. Moved on from it like all proper composers – with alcohol!

How do you feel about new music and what we’re trying to do with Musically Gifted?
I personally prefer old music, but Musically Gifted sounds like a good idea

What would you like to be recognised for?
For my delicious beetroot salad

What advice would you give to other young composers?
I should quote Sofia Gubaidullina here who said to an overly prolific colleague of mine – ‘don’t pollute the atmosphere!’

What’s your musical guilty pleasure?
Lutoslawki’s Chain 2

If you turned your iPod on now, what would be playing?
I haven’t got an iPod!

The last concert you saw?
Handel’s Saul at Glyndebourne

If you hadn’t been a musician, what might have happened?
I would have become a better and more roundly educated person

Which musical instrument do you wish you could play, and why?
Percussion – because there are so many of them and maybe it would develop my sense of rhythm…

Any plans for the summer?
To swim

Is there anything else you want to share with the world?
I wrote an opera ‘Figaro Gets a Divorce’. It will open at the Welsh National Opera in February of 2016 – I would like the world to come and see it!


Elena's new work, Story of an Impossible Love, will be performed during the Benjamin Grosvenor programme performed on Wednesday 27 April 2016 at Cambridge's West Road Concert Hall, Friday 29 April at Norwich's St Andrew's Hall and on Sunday 1 May 2016 at London's Milton Court. Click here for more info and to book tickets.

Edward Nesbit on compostion

Edward Nesbit won Britten Sinfonia's OPUS2015 competition for unpublished composers. His new Horn Trio, Lifesize Gods, commissioned by Britten Sinfonia and Wigmore Hall, as a result of winning OPUS2015 will be premiered during the At Lunch 1 tour on Friday 27 November in Norwich with further performances in Cambridge (1 Dec) and at London's Wigmore Hall (2 Dec). In this blog post Edward answers a few questions about his work and life.

How would you summarise yourself in one sentence?
I like music.

What do you like most about composing?
The excitement of it: to get to the end of a day’s work and think ‘that passage of music didn’t exist this morning’ is a real thrill. Especially when things are going quickly, and I am pleased with and even surprised by what I am writing, this feeling can be one of the most exciting things I have ever experienced.

How do you start a new work?
This varies hugely from piece to piece.

Occasionally I know what the title of a piece will be before I start writing, and this can help to clarify my ideas hugely. I have, for example, recently been working on a piece called Like Some Forgotten Music, which is a quotation from Anne Enright’s novel The Forgotten Waltz. It is a phrase I find extremely evocative, and that has shaped the rather archaic sound-world of the piece.

Sometimes I sit down to start a piece with no pre-conceptions at all, and I just see what happens. Sometimes this leads to disaster and I have to scrap what I have written and start again multiple times; sometimes, however, this approach can lead to the most interesting results, and I produce work which I could never have imagined in the abstract.

Before I started Lifesize Gods, my horn trio for Britten Sinfonia, I knew that everything I wrote would be repeated – literally every phrase has repeat marks around it. This semi-arbitrary restriction has far-reaching implications for the syntax and structure of the piece: nothing can ever be a surprise, for example, as the second time that material appears it would cease to be surprising. I quite commonly employ this kind of procedure to help get me started with a piece, and to help me push my imagination in new directions.

Sharps or flats?
Actually, I’m pretty keen on white notes.

Tea or coffee?
Strong black coffee. A lot of it.

What and/or who inspires you?
It’s always listening to music for me. Composing is a very abstract and cerebral activity – after all, you don’t actually hear a note of what you’ve written until after you’ve finished the piece! This is a very odd situation in some ways, I find that the extreme disconnect between what I spend my days doing and what I am ultimately trying to achieve can occasionally be disheartening. In this situation, listening to music I love – above all, Sibelius – reminds me what is possible for music to do, and that all the hours of hard work are worth it.

What’s your advice for budding composers, or anyone considering entering OPUS2016?
Work tirelessly at honing your craft – and I use the word ‘craft’ deliberately – and never be satisfied with what you have written.

What would you like to be recognised for?
Although, of course, having a ‘big’ career would be nice, I’m really not driven by recognition at all, and it is the profound satisfaction of being proud of a piece of music I have written which drives me. Having said that, I do hope that I have something individual to say musically, and I would like that to be shared with as many people as possible.

Any embarrassing music-related moments?
No comment! I do, however, have an irrational fear of misreading the details of the ensemble for which I’ve been asked to write and submitting a piece written for the wrong instruments. That would be pretty embarrassing…

The last concert you saw?
Carolin Widmann giving the world premiere of Julian Anderson’s poem for violin and orchestra In Liebliche Bläue with the LPO at the Royal Festival Hall. An amazing piece and performance!

What’s your musical guilty pleasure?
Rachmaninov.

If you turned your iPod on now, what would be playing?
Schnee by Hans Abrahamsen.

If you hadn’t been a musician…?
I’d love to have been a novelist. I love composing due to the joy I feel at creating things, and I’m pretty sure that writing novels would give me the same satisfaction – although I’m less sure that anyone would want to read my books!

The best gift you’ve received?
I love being given books across which I haven’t come before, and being directed towards reading material which it wouldn’t have occurred to me to read.

Is there anything else you want to share with the world?
As a composer who is interested in literature, my biggest dream is to write opera. I always have ideas for operas floating around in my head, and I hope to have the chance to write one as soon as possible!


You can help support the development of Edward Nesbit's new work, Lifesize Gods, through Britten Sinfonia's Musically Gifted campaign. Click here for more details.

For full details of the world premiere tour of Edward's Horn Trio click here.

Are you an unpublished composer living in the UK? Why not apply for OPUS2016? Click here for full details.

Brussels Sprouts and Christmas Carols

Ahead of the looming excitement of Christmas day we asked our Musically Gifted composers what they're most looking forward to and what they really think about Brussels sprouts... 

All of these composers will have new works premiered by Britten Sinfonia this season, find out how you can get involved on the Musically Gifted website. Watch our Christmas video here. 

Ben Comeau

What’s your favourite Christmas song and why?

Unashamedly highbrow response!  Any of Bach’s Christmas music, especially O Jesulein süß (O Little One Sweet). Poulenc’s four Christmas motets. Messiaen’s Dieu Parmi Nous for organ.

The one you really can’t stand?

I’m usually very eclectic in my tastes, but Christmas really brings out the very worst in pop music. The tropes and cheap tinsel of Christmas hits are so depressing. I could probably enjoy Slade’s Merry Christmas Everybody if it were an obscurity, but the Pavlovian response when it starts playing in a club brings out a rare misanthropic streak in me...

Favourite thing about Christmas?

Obviously (some of) the music. And if it ever snows, going out on a long walk.

Your Christmas pet hate?

The pop music...

Brussels sprouts, yes or no?

YES and then some! I could eat barrels of them.

Tom Coult

What’s your favourite Christmas song and why?

12 Days of Christmas – hands down the most structurally innovative of all Christmas songs. It’s a cumulative form with an irregular metre and irregular, additive phrase structure – introductory lines and the ‘partridge in a pear tree’ segment in 4/4, then incrementally adding 3/4 bars, excepting the 5th phrase (‘five gold rings’) which is in 4/4, after which point the melody of the following three phrases alters for each subsequent verse. I’ve done a diagram of the phrases in each verse – italics denote the changed melody after ‘five gold rings’:

AB - ACB - ADCB - AEDCB - AFEDCB - AGFEDCB - AHGFEDCB - AIHGFEDCB - AJIHGFEDCB - AKJIHGFEDCB - ALKJIHGFEDCB - AMLKJIHGFEDCB

The one you really can’t stand?

The Holly and the Ivy. The word setting is awful – all the lines seem to have different numbers of syllables that have to fit into the same tune, and accents fall on strange words. 'Of all the trees that are in the wood’ – very odd.

Favourite thing about Christmas?

The Father Ted Christmas special.

Your Christmas pet hate?

People moaning about Christmas decorations going up in October and November.

Brussels sprouts, yes or no?

No. Yes? Dunno. Was Pierre Boulez not available for this Q&A?

Iain Farrington

What’s your favourite Christmas song and why?

My favourite ‘original’ Christmas work is Britten's Ceremony of Carols: fresh, brilliant, and moving. To think it was composed on board a ship on the Atlantic during World War II makes it even more remarkable. Of the ‘traditional’ carols, I love the original 16th Century Coventry Carol which has such tension to it, unsettling major/minor shifts and uneven bar lengths. Also The First Nowell, especially as arranged by Elgar at the end of his The Starlight Express (nothing to do with Lloyd Webber!)

The one you really can’t stand?

Any of the contemporary pieces that are loaded with saccharine sentimentality, cloying harmony and butter-wouldn’t-melt-in-your-mouth naivety. Like having to eat an extra-large Christmas pudding in one go.

Favourite thing about Christmas?

The positive atmosphere, lights, colour, food and drink; all the best things to get through the darkness of winter.

Christmas pet hate?

Dewy-eyed and cynical TV adverts (Sainsbury’s, this year).

Brussels sprouts, yes or no?

Definitely, and all year round too. However, will we have to change the name if we leave the EU?

Joey Roukens

What’s your favourite Christmas song and why?

Although I don’t have any real favourites, I prefer the ‘classic’ Christian hymns and carols such as Adeste Fideles, Silent Night and Hark the Herald Angels Sing, partly because of their sentimental value – I used to sing these as a child at school and with my mother, and partly because they simply have lovely melodies that are both tender and solemn.

The one you really can’t stand?

Most Christmas pop songs I can’t stand, but if I had to pick one, it would be Last Christmas (by Wham!) which I find the most aggravating Christmas song ever penned. All I want for Christmas is you (Mariah Carey) and Simply having a wonderful Xmas time (Paul McCartney) are pretty terrible too. The thing is, even the great Christmas songs become vexatious just by maddening repetition during the Christmas season.

Favourite thing about Christmas?

Christmas dinner with family!

Your Christmas pet hate?

See question #2 – hellish repetition of the same annoying songs, all the crappy programs and movies on TV, massive consumerism.

Brussels sprouts, yes or no?

Yes!

Nico Muhly

What’s your favourite Christmas song and why?

Well, let’s back up and say that the all-time best is O Come, O Come Emmanuel, because there is nothing more joyful than moving from that minor mode to the expectant major on the word, “Rejoice!"

The one thing you can’t stand?

Everybody losing their mind about Christmas before Advent starts. 

Favourite thing about Christmas?

Having the entire city to myself. Everybody peaces out and I can walk up and down the middle of the street.

Christmas pet hate?

I actually have no idea what this could possibly mean. Do you mean is there a thing my dog hates at Christmas?

Brussels sprouts, yes or no?

Firmly yes! You just have to handle them right. Sometimes raw is the way forward, indeed, and other times, the opposite.  

Tom Coult on composition

Composer Tom Coult is writing a new work for Britten Sinfonia, which will be premiered in March 2015 in London followed by performances in Norwich and Saffron Walden. Tom is on the rosta of composers individuals can support through the Musically Gifted campaign. In this blog Tom answers questions about himself and his music;

How would you summarise yourself in one sentence?
‘Tom writes music, lives in London, and is amazed at the difficulty of this opening question.’

What’s your earliest musical memory?
Being played Jimi Hendrix in the car by my dad.

What do you like most about composing?
The occasional bursts of feverish excitement and productivity. And hearing my music performed well, although by then all the ‘composing’ is hopefully done…

What inspires you?
At the moment I can’t stop gazing at Oliver Byrne’s 1847 edition of Euclid’s Elements – it’s a beautiful publication using beautiful coloured, proto-Mondrian diagrams instead of words. There’s something in the boldness, geometry and simplicity of the illustrations that I wish I could imitate in music.

When was the last time you experienced writers’ block, and how did you move on from it?
I experience writer’s block every day – still haven’t found a satisfactory remedy…

How do you feel about new music and what we’re trying to do with Musically Gifted?
A commitment to performing and commissioning music by living composers is one of the marks of an intelligent and relevant ensemble (Britten Sinfonia certainly comes under both of those categories). It’s also essential that composers’ considerable work be valued and remunerated. Any scheme that raises money for new work to be written (and repeated) is well worthwhile, and this type of funding hopefully creates an extra level of engagement with the piece for those that are able to contribute.

What would you like to be recognised for?
Excellent sideburns.

What advice would you give to other composers?
Try to compose every day, listen to several orders of magnitude more music than you write, and get some good pencils.

What’s your musical guilty pleasure?
Sentimental spoken-word verses in songs – cf. Porter Wagoner’s Green Green Grass of Home, Elvis Presley’s Are You Lonesome Tonight?, and the granddaddy of them all, the Everley Brothers’ Ebony Eyes.

If you turned your iPod on now, what would be playing?
The Everley Brothers’ Ebony Eyes.

Favourite five tracks of all time?
Interpreting ‘tracks’ extremely liberally; Bach’s Brandenburgs no.s 1, 2, 5, 6 and the Everley Brothers’ Ebony Eyes.

The last concert you saw?
Rachel Podger directing the English Concert at Wigmore Hall – doing Vivaldi 391 with its scordatura violin… mind-bendingly good piece.

If you hadn’t been a musician, what might have happened?
I’d be making and repairing clocks.

Which musical instrument do you wish you could play, and why?
The tenor viol – viols are far more beautiful instruments than anything in the modern symphony orchestra.

Is there anything else you want to share with the world?
https://www.youtube.com/watch?v=EQOjxA8rrks

Hear Tom Coult's new work on Friday 20 March 2015 at London's Milton Court and then on Saturday 22 March 2015 at Norwich Theatre Royal and Sunday 23 March 2015 at Saffron Walden's Saffron Hall. Click here for full information on the concerts and to book tickets.

Music, concerts and composing according to Ben Comeau

Ben is a young Cambridge-based composer who won the 2014 Cambridge University Composers’ Workshop. As a result Ben is writing a piece for our 2014-15 At Lunch series which you can support through the Musically Gifted campaign. Ben is in his final year studying music at Girton College, Cambridge, where he divides his time between composition, piano, organ and jazz. He has written and performed two piano concertos, performing the second in venues including Birmingham Symphony Hall and St. Martin's in the Fields.  On organ, he won the inaugural Northern Ireland International Organ Competition, playing part of his own transcription of Stravinsky's Firebird Suite. In this blog post Ben discusses his inspirations, what he's listening to currently and what advice he'd offer other young composers;

How would you summarise yourself in one sentence?
I'm not sure it's my place to answer this, but I think it's safe to say I'm curious, scatter-brained, obsessed with a huge variety of different kinds of music, and always seeking to learn new things.

What's your earliest musical memory?
Getting Hanon piano exercises stuck in my head after listening to my dad teaching the piano at home from my bedroom all day.

What do you like most about composing?
To be completely honest: the ego boost after teasing a new sound into the world. And the knowledge that I might be able to affect peoples' thoughts and emotions; my own thoughts and emotions as much as other peoples'.

What inspires you?
Just sound itself – I almost never get inspired to compose by anything extra-musical. I often get inspired after listening to someone else's music though.

When was the last time you experienced writers' block, and how did you move on from it?
I can't exactly remember when the last time was, but I often find simply taking a break or listening to some contrasting music can help. Sometimes I just need a good sleep. I've been fortunate to only ever have short-term writers' block.

What advice would you give to other young composers?
Compose as much as possible; analyse other musical works in lots of depth; analyse your own work – it's easy to feel polarised about your work, either falling in love with it or thinking it's worthless (sometimes changing overnight about the same piece) but it's perhaps better to analyse which elements in the piece make you fall in love with it, and what weaker elements might cause you to temporarily hate it. You can then work on improving the weaker elements.

Which musical instrument do you wish you could play, and why?
I've recently become interested in the saxophone, because of its astonishing variety of timbre. I've been inspired by John Zorn's extended repertoire of weird and wacky squeaking sounds from the instrument; I don't know anything about how to actually produce such sounds. I also wish I were a good singer – I think there's something fundamentally spiritual about the human voice, going to a deeper level than any other form of music making. A central feature of most, if not all, 'primitive' societies was communal chanting, often with a religious purpose. Unfortunately I'm not blessed with a fine voice.

How do you feel about new music and what we're trying to do with Musically Gifted?
New music is obviously inherently experimental, in the very literal sense that it is generally an experiment to see if something will work or not. Some new musical experiments will be failures and will not move anyone, will not stir emotions or have any other use. Other musical experiments will open up vast realms of human emotional experience, move us to tears or open our eyes to an entirely new way of looking at the world.

If “music expresses that which cannot be said and on which it is impossible to be silent”, then it's interesting how often we are finding new things which have not been expressed or said before, which could not be expressed except through music. I don't believe that most of us have tapped through a tiny fraction of the range of experiences the human brain is capable of, and music almost certainly has far more to say to us than has yet been said. Of course, this all requires a positive attitude towards the idea of experimentation. We must dedicate time and resources to opening up new musical avenues, and there is lots of potential reward for this.

Musically Gifted is a brilliant endeavour which is investing in the search for new forms of human expression and communication.

What's your musical guilty pleasure?
That's a strange concept really. Any kind of music that brings you pleasure pretty much justifies itself, without one needing to feel 'guilty' – I think? I can get really into Queen or Abba, albeit in small doses…

If you turned your iPod on now, what would be playing?
I’m currently starting to explore indie rock – I’m fairly unknowledgeable, but the last thing I listened to was some Grizzly Bear which I enjoyed (mainly for the harmonies/structures; I can't enjoy the vocal style so much). I've also been listening to Stravinsky's Firebird Suite; I've made an organ transcription of the work, and I’m performing it for my final recital-exam at Cambridge University.

The last concert you saw?
I play in far more concerts than I go to see (for better or worse)! The last I played in was Messiaen's Quartet for the End of Time, in Kettle's Yard, Cambridge. The last I saw was a student piano recital by Sasha Valeri Millwood, in Girton College, Cambridge. He improvised links between the pieces; apparently a common practice in the 18th century. I wonder if this could be revived in the 21st century – I'm a big fan of improvisation.

If you hadn't been a musician, what might have happened?
I can't remember imagining myself to ever be anything other than a musician – but I also have a big interest in philosophy, politics and ethics, with an activist streak. I might have been an environmental campaigner, or gone into academic study of philosophy.

Any plans for the summer?
Travel (not sure where), practice, read!

Ben's new work will be premiered during the At Lunch 3 performances in London, Cambridge and Norwich in February 2015. Find out more here

Support Ben's new work through the Musically Gifted scheme - your chance to buy a gift and create new music. More info here

Patrick John Jones on Composition

A new work by Patrick John Jones opens Britten Sinfonia's 2014-15 At Lunch series which sees performances in Cambridge, Norwich and at London's Wigmore Hall in November and December 2014. Patrick won OPUS2014 our open submission competition for unpublished composers and is on the roster of Musically Gifted composers you could help support. In this blog Patrick answers questions about himself and his music.


How would you summarise yourself in one sentence?
Imagine a cross between a less good-looking Jarvis Cocker (minus the singing ability), a better-looking T.S. Eliot (minus the way with words), and a less funny Simon Amstell (minus the big curly hair).

That may or may not be almost, but not quite, entirely unlike me.

What do you like most about music and composing?
One of the most enjoyable parts of composing is when the ideas for a piece gather momentum and I can lose myself in shaping and refining the sound world that I am trying to create. Similarly, the music I like has a compelling power that can completely absorb my attention. I live for the moments when my mind is engaged with that kind of intensity.

What inspires you?
Original, potent ideas that are realised with passion and dedication. (This can apply to anything that involves human creativity, not just music.)

How do you feel about new music and what we’re trying to do with Musically Gifted?
About new music: optimistic. One thing I am particularly excited by is the fact that we have almost immediate access to a profusion of different kinds of music. It makes it so easy to ignore any canon that is thrust at you, and allows the creation of your own canon of music and musical figures that are important to you. That can only be a good thing for creativity.

However, there is such an overwhelming amount being written now that it is impossible to keep up, and I am more interested in pursuing music that is new to me rather than staying on top of what is current. Every so often, though, I will hear something I think is really special in this vast mass of creative activity, and that is where my optimism comes from.

Ultimately, it is extremely important to allow composers to keep trying, and I’m very glad Britten Sinfonia is playing a part in that.

What was your reaction when Britten Sinfonia commissioned you?
Delighted! It was amazing to hear Britten Sinfonia's wind players so deftly tackle the scores given to them at the OPUS2014 workshop, and I’m really looking forward to working with them more.

What would you like to be recognised for?
Ideally: original, potent ideas that are realised with passion and dedication. Or streaking at a major sporting event.

What’s your musical guilty pleasure?
I like what I like unashamedly, as should everyone.

If you turned your iPod on now, what would be playing?
Currently the Bach Brandenburgs, played by Il Giardino Armonico. At the moment I keep obsessively coming back to the middle movement of number six.

At the end of a long day, how do you relax?
My mind can be very hyperactive after a long day, so I’ll often be in bed listening to something on headphones that will help clear my head before going to sleep. Perhaps some music with a mesmeric quality or an audiobook. I usually have a novel on the go too, as it's easy for my ears to get fatigued if I've been working on music all day.

If you hadn’t been a musician, what might have happened?
If my seven-year-old self had his way, I’d be a paleontologist. But because my close family is exclusively comprised of literature nerds, I’d probably be attempting to write a novel or an English thesis right now. Or clandestinely googling TEFL courses whilst working a nine-to-five.

Is there anything else you want to share with the world?
A pot of tea. Or two. Maybe a vat.


Patrick is writing a piece for wind quintet which will be premiered during our At Lunch 1 tour on Friday 28 November at St Andrew's Hall, Norwich, Tuesday 2 December at West Road Concert Hall, Cambridge and Wednesday 3 December at Wigmore Hall, London. Click here for more information and booking details

You can support Patrick John Jones new work via Musically Gifted. Click here for more information.

Submissions for OPUS2015 are now open - click here to find out more.

Conquering notes and practising sections

Britten Sinfonia Academy have been hard at work over the last couple of months, focusing on performing chamber music and also the new work by Philip Cashian written specifically for the Academy.  Claire (Britten Sinfonia Academy flautist) tells us all about what the Academy have been up to;

Britten Sinfonia Academy met for three days in February to focus on some chamber music works chosen for us; these included Spohr's Nonet in F, Dvořák's op.77 String Quintet, Schubert's Trout Quintet, works for two violins and piano and works for cello quartet. As the flautist, I played in the nonet, and also Bachianas Brasilieras by Villa-Lobos, a piece for eight cellos and soprano- I played the soprano part. Most of the three days were spent in our chamber groups working on our pieces, with input from a Britten Sinfonia tutor in each group who coached us through the pieces. It was fantastic to be able to explore some new chamber music and experience working in a small ensemble, as a few of us hadn't had many opportunities like this before. Everybody contributed ideas to how we wanted the piece to sound, and everybody's instruments and playing styles were taken into account. At the end of the weekend, each group presented the piece they'd worked on and the rest of us gave them feedback. During the course we also worked on some of the orchestral pieces: Beethoven, Stravinsky and Bartok. It was my favourite course of the year so far!

In March we also met for three days. This course was orientated around working on the repertoire for the summer concerts. The woodwinds were given a new piece: Milhaud's wind quintet La Cheminée du Roi Réné. We spent most of two of the days working on this as well as a wind quartet by Françaix, while the strings practised the Bartok Romanian Dances and some Christian Woolf exercises. The Trout Quintet and Villa-Lobos groups also got some time to practise their pieces.

On the final day of the course, Philip Cashian came to work with us on his new commission Strix. We spent the day conquering the notes and then practising sections in more detail. Phil gave us pointers on how we should play the particularly difficult passages and how we should apply our musicality to the music. By the end of the day, the piece we all had a hand in creating back in October had come to life. It was a fantastic weekend, and we're all really looking forward to performing our repertoire in the summer concerts!

Claire
Flute, Britten Sinfonia Academy

Find out more about Britten Sinfonia Academy here.

The Academy will be performing in Cambridge (1st July) and Norwich (5th July) for our At Lunch 5 concerts. For more info click here. The programme will include the premiere of Philip Cashian's new work, Strix. You can help support Philip's Academy commission through Musically Gifted.

Find out more about Philip Cashian's new work in this short film

Brett Dean on composition

Australian composer and violist, Brett Dean joins Britten Sinfonia in May for the world premiere tour of his new work, String Quartet No. 2 (And once I played Ophelia). Here he talks about what he loves most about composing and his thoughts on the Musically Gifted scheme.

How would you summarise yourself in one sentence?
Paul Hindemith jamming manically on a MIDI viola in Tom Waits' band.

What do you like most about music and composing?
What I love most about composing is not really knowing exactly how a piece is going to unfold, so that there’s a certain mystery about the adventure.

What inspires you?
All manner of things, from all sorts of directions; stories, other works of art, human relationships…

How do you feel about new music and what we’re trying to do with Musically Gifted?
New music is what I myself am living for, and I think that the Musically Gifted programme is a terrific way of finding new people who are prepared to take ownership of music, to give them a completely different appreciation of the act of creating something new.

What was your reaction when Britten Sinfonia commissioned you?
I was very excited, also to use it as an opportunity to delve into the Ophelia character, a character that’s inspired me for a long time.

What would you like to be recognised for?
Reconnecting performance and composition – the way a lot of music-making used to be.

Musical guilty pleasure?
"Dreamer" by Supertramp (ooh, that sexy electric piano!)

At the end of a long day, how do you relax?
A G&T and something good on the telly.

If you hadn’t been a musician, what might have happened?
I’d always hoped to open the batting for Australia, but they never called me.

You can support Brett Dean's new commission via the Musically Gifted scheme. The closing date for donations is Friday 11 April 2014.

Brett's new work will be featured in our At Lunch 4 tour to Cambridge, Norwich and London. For more details click here.

William Cole on composition

Britten Sinfonia will premiere William Cole's new work, Versa est in luctum in March. Through the Musically Gifted scheme you can help support William's new work - donations close at 5pm on Friday 7 March. William was the winner of the 2013 University of Cambridge's composition workshop held in partnership with Britten Sinfonia and recently graduated from Clare College, Cambridge. We asked William a few questions about himself and his inspirations;

What do you love about Music?
I do a lot of singing. From a young age I’ve sung in a lot of large spaces. My attraction to music, a lot of the time, is how music sounds in space. And it depends on the acoustic, like large cathedrals. I’ve sung a lot of church music where you have soaring lines and lots of space so there’s time for the music to really sound in a large space. This piece will be in a smaller concert hall but I still feel like that tactile sense of sound in a space is really important to me.

As a child, what brought you towards music?
I was a chorister. There is something very physical about making music and I liked the sense that music was something that you had a rather relaxed attitude with and just did all the time. Treating it with respect but not too much reverence, which I think is quite important for composers and musicians today, to not spend too much time worshiping the music but treating like a living object.

What inspires you?
The music that I do, that I sing and play is often a starting point for music, and actually the notes themselves as well. The way they interact and the games they seem to be playing in and of themselves I find really inspiring when I’m sketching.

The process of sketching is utterly absorbing and it breeds itself, you can start with a very small object and you just explore it, and see it from different angles. It almost seems sometimes that out of a small idea there can be four or five pieces that go in different directions somewhat. So a lot of the time I don’t actually lack for inspiration, it is actually finding the right space and frame for the idea that is the challenge.

So in terms of inspiration, it doesn’t often work that it’s just a musical object that appears to you that you just then put down on paper; a lot of the time the inspiration has to do with one particular gesture that you think might start a form rolling. A lot of the inspiration is about form and shape and the dual process is to try to find the material that suggests that shape and then try to get the material into that shape. I suppose the inspiration comes from extra musical things or other music, but also from the very process itself.

Are you inspired by anything else than music?
Landscape is often a very powerful force. I’ve done a lot of travelling as a musician, touring, and seeing a lot of different things. Not necessarily nature, often urban landscapes are very exciting to see. Words, text, the relationship between text and a piece of non-verbal music is an interesting one, how some words can inspire a particular sound. I suppose it depends on what type of poetry you’re working with. But actually, music is the main influence.

What do you think about new music and what we’re doing with Musically Gifted?
It’s absolutely brilliant because it opens up the piece in terms of ownership to a larger number of people. I think theres something really beautiful about a piece of music which everyone feels is part of a collective ownership. Like music that we all know, folk songs, the national anthem, big hit tunes that we sing at football grounds and the rugby grounds.

I can’t imagine that what I write will be sung in a football ground but the hope is that it has some kind of feeling of being part of those who come to listen to the piece, that it feels like an event that is shared amongst us rather than just between composer, player and then audience. So they’re not the last link but there’s a full circle and they’re there from the beginning so it’s one collective object.

If you hadn’t become a musician, what might you have done?
I did quite a lot of acting when I was in school, which was fascinating. I also might have been a chef, I am a big cooking fan - especially a pudding or breakfast chef, probably would have been my career of choice.

What’s your musical guilty pleasure?
I’m a real fan, in my spare time, of Simon and Garfunkel. The sound of it is very beautiful, but also some of the songs, when they just have the same tune round and round again and different words, it’s exactly what Schubert was doing. The way that those words are set is unbelievably poignant sometimes, and using the same tune ever again has different meanings each time and you get a really bittersweet feeling. I can learn a lot from them. It’s not particularly guilty compared to what some people listen to.

That’s not guilty on any level!
No ok. Sorry. Shall I try again?! I don’t really have any guilty pleasures I suppose…

How and where do you relax?
I’m the kind of person, I think, that doesn’t relax very much. But when you’re on tour and you’re doing music, you kind of have little pockets of time where you have to switch off, because you have to switch back on. So because of that, I like to travel and explore new cities and new places. I like reading, and cooking, it’s quite a good way of relaxing.

How do you see yourself in ten years’ time?
Hopefully doing lots of different musical things. I’ve always composed but also sung and I do a lot of conducting as well. So hopefully I’ll find a way to keep all of these things in balance because I think they really feed into each other and they’re a really good way of not getting too obsessed on one thing at one time.

And finally, could you please summarise yourself in one sentence?
Omnivorous in a number of ways!


William Cole's new work will be performed by Britten Sinfonia as part of its At Lunch series on Friday 14th March at Norwich's Assembly House, Tuesday 18 March at Cambridge's West Road Concert Hall and on Wednesday 19 March  at London's Wigmore Hall. Click here for more info.

You can support William Cole's's new commission through Musically Gifted. Donations must be received by 5pm Friday 7th March. Click here for more info.

Musically Gifted - An Update

This time last year, we were busy setting up our newest fundraising campaign: Musically Gifted. In case you’ve missed it (and we hope you haven’t!) the aim of the game is to enable people from all walks of life to be a part of something special and timeless - the opportunity to help us commission a new piece of music and be credited in the score forever.

With composers ranging from Sally Beamish, James MacMillan and Nico Muhly (plus many more), we’re delighted to offer such a wide range of musical worlds and we know that there is something to please every ear.

We’re also extremely pleased to be able to include lesser known composers in the roster, which gives them a real chance of gaining exposure and creating an emotional link with listeners right from the very start of their careers.

The varying benefits received by donors depending on the size of their gift is also something we are thrilled with. All donors are credited in the score forever, although you can opt out if you wish to remain anonymous (and many do). There is then a wide range of gifts going from a signed front page of the score to the possibility of having Afternoon Tea with the composer and musicians (which we hear through the grapevine is quite a lot of fun!).

Our first commission received the support of 24 donors, our second had 35. We’re liking this trend and hoping that each commission will get increasingly popular.

Let’s not forget that Arts Council England will match-fund pound for pound each gift that we receive until 31 March 2014, which is an incredible fundraising opportunity for us. Of course, we believe it is vital for our orchestra to perform new music, and all money we raise through this campaign will permit us to commission yet more emerging and well-known composers.

I am the person who sends you the thank you card, wraps your scores in purple ribbon and makes sure that the adventure is worth it, and I must say it’s been a real pleasure this far. I love having a close connection with the composer as well as with the donors, and I really hope that we’ll be able to develop this campaign into a staple of what Britten Sinfonia offers to their followers.

Right, I think it’s time for you to discover it yourself. Get stuck in at www.musicallygifted.org.uk and get inspired.


Gabrielle Deschamps
Development Assistant

Mark Simpson on composition

Britten Sinfonia will premiere Mark Simpson's new work, Geysir in February. Through the Musically Gifted scheme you can help support Mark's new work - donations close at 5pm on Friday 31st January. Mark won both the BBC Young Musician of the Year and BBC Proms/Guardian Young Composer of the Year  in 2006. Since then he has been commissioned and had his works premiered by ensembles including the BBC Symphony Orchestra, Aronowitz Ensemble and the Royal Liverpool Philharmonic Orchestra.  We asked Mark a few questions about himself and his inspirations;

How would you summarise yourself in one sentence?
Passionate, ambitious, a dreamer, full of energy, wanting to be moved, wanting to move people, inspire people, be inspired by people, a perfectionist, constantly searching for those rare musical moments when time seems to stop.

What do you like most about music and composing?
The duality between the head and the heart, which for me as an emotional person who enjoys thinking, is the perfect match. Music encompasses everything. I can experience things that I would not have otherwise have been exposed to, ideas about philosophy, literature, poetry, biology, language, politics, physics, art, psychology. But I also FEEL music coursing through my body. The greatest pieces of music stimulate a part of my brain in way that is both exciting and hyper-emotional.

What inspires you?
Great literature, great poetry and art, things that move me, people who awaken a passion within me and share the intense passion I have.

How do you feel about new music and what we’re trying to do with Musically Gifted?
I feel a lot of things about 'New Music'. That question is quite broad and possibly too big for discussion within this short interview. But what I would like is for young composers (I'm including myself in this!) to be more daring. Embrace the future of our art form and do something amazing with it. Influences are hard to shake off, but when we reach for ideas that seem impossible, great art happens!

What was your reaction when Britten Sinfonia commissioned you?
I was honoured. It will be such a privilege to work with musicians that I've looked up to since I was a teenager starting out.

What would you like to be recognised for?
Writing great music, inspiring as many people as possible and bringing classical music to as wide an audience as possible without ever patronising them or distilling the great art form we have.

What’s your musical guilty pleasure?
I'm not sure I like the idea of a 'guilty pleasure'. It presupposes a hierarchy of style with classical at the top which I don't necessarily buy into.  I like listening to things that aren't classical, as much as I listen to 'classical' music, as long as it's good: the music of Jason Robert Brown, Beyoncé, 80's music, folk music, German indie bands, house and techno music, Indonesian funeral music. There's nothing I'm really embarrassed to say I listen to, because I wouldn't listen to it if it wasn't worthwhile!!

At the end of a long day, how do you relax?
A quiet drink with friends, in a local pub, in bed before midnight.

If you hadn’t been a musician, what might have happened?
I probably would have done something with Art or German. I had two very inspiring teachers in both subjects at High School who awoke a real passion for both.

Is there anything else you want to share with the world?
I have been a question on The Weakest Link and University Challenge, and once appeared in an episode of Grange Hill!

Mark Simpson's new work will be performed by Britten Sinfonia's wind principals on Thursday 13th February at Cambridge's West Road Concert Hall and on Friday 14th February at London's Milton Court Concert Hall. Click here for more info.

You can support Mark Simpson's new commission through Musically Gifted. Donations must be received by 5pm Friday 31st January. Click here for more info.

Roderick Williams - The Composer

Britten Sinfonia’s Development Assistant, Gabrielle Deschamps talked to esteemed baritone Roderick Williams about his second discipline, composing, and his views on new music.

Please summarise yourself in one sentence:
I’m Roderick Williams, I’m probably better known as a singer than I am as a composer, and I am an operatic baritone, recitalist, and sometime composer.

What do you like about music and singing?
The thing about singing is that you get to take part directly in the music, there’s no instrument, there’s no interface. It’s just something that you do when you’re alone in the bath or in the shower… Singing is primal in that way. And I really enjoy the physical feeling it gives me. And when I’m performing with other people I enjoy the communication part of it too. I enjoy being able to see an immediate effect in people’s eyes as I am telling a story, or whatever it is I happen to be doing.

What inspires you?
I’m inspired, I think, by fantastic music – of course one is bombarded with music all the time. Whether I’m in rehearsals or just driving in the car with the radio on, there’s always music coming at me and I find a great deal of it inspiring. I find also less good music inspiring, because that makes me want to compose. I hear something and I think “Oh I could do better than that, or I’ll have a go at that”! And equally I find performing and listening to masterworks a little intimidating and I wonder how I could ever follow in the steps of such masterworks… But at least I try!

What are your feelings about new music and what we’re trying to do with Musically Gifted?
I perform a great deal of new music. Some of it I find very exciting, some of it has a reaction with an audience that I hadn’t imagined. Sometimes I can underestimate a piece or a composer’s power. This is the composer’s part of me, with my composer’s hat on - I can sometimes look at a piece and think it doesn’t amount to much and be unaware than when it comes to the performance, it really has muscle. So I’ve learned quite a bit from that.

As for the Musically Gifted scheme, having performed so many premieres, either of songs or maybe even taking part in operas, it’s always exciting for me to have my name as the first performer on the score. It’s a little moment of pride for me there, having my name written down. In the same way that I perform some masterworks from the last fifty to a hundred years, I see the names of previous baritones and I love to think that I’m part of that line. And so it is with dedications, you see a piece that’s been commissioned by a huge symphony orchestra paid for by some huge corporation and then there’s a dedication at the top of the score that might be something very special and personal, and maybe isn’t immediately apparent when you first look at the score. They all have stories and that’s quite intriguing. And you often see in programme notes the story explained of who “Bill” happens to be… There’s something quite romantic about dedications, and when I get a chance to dedicate my own pieces I also send little messages to people; little votes of thanks here and there.

Is composing something that you want to be more recognised for?
It’s a little difficult because I think a lot of composers have an eye on immortality and I wouldn’t begin to imagine that my music would be anything more than functional in a way. And if it achieves anything beyond my time that’s all well and good, but I’ve got my eyes on the moment, as a performer. I like my music to get an airing rather than writing huge numbers of string quartets and symphonies that I store in a cupboard to be discovered on my death and then for me to reign supreme. Somehow I don’t think that’s going to happen! So I’m very interested in the way performers shape pieces, and part of the way I write now is I allow a performer a great deal of input into my music and how it should go, in the hope that each performance is different and in the hope that performers can take my music and make it their own. So I don’t prescribe utterly how it should go, with exact markings on how every millisecond should sound because I think you might as well present people with a definite recording and say “that is it, set in stone”. I think that’s a shame.
It would be lovely to be known as anything actually! My mum knows who I am…

What was your reaction when Britten Sinfonia commissioned you?
Commissions are always very exciting because it shows that someone somewhere has really listened and enjoyed something that I’ve done, and found it worthy. With my singing career, I’m happy to take criticism, good or bad, I feel reasonably confident that I know what I’m doing. Now, in composition it’s entirely separate, and it’s much more like my own baby, my own child, and I am much more worried about reaction to it and people’s perception of it - desperate for encouragement. So just the fact that, not just anybody but an orchestra that has as much pedigree in modern music as Britten Sinfonia, should want to commission me, I find terribly exciting.

What’s your musical guilty pleasure?
I love harmony. Harmony really inspires me, I particularly love jazz harmonies. I enjoy jazz and pop. I love having the radio on and just not knowing what’s going to come up next. And I’m as likely to be moved to tears by a bit of Marvin Gay as I am by a bit of Mahler. So I don’t know if that’s guilt or not but whatever sort of music it is, if it speaks to me, it goes deep.

How do you relax?
The thing that helps me relax a lot is walking. The tricky thing for me is that there’s always going to be some sort of music playing in my head. This German idea of the Ohrwurm – the piece of music that just keeps going round and round. The worst thing is that it’s quite likely to be a really naff tune that gets stuck in there. This is why I often have the radio on. Radio 4 so that people can talk to me, or music that I’m not in control of; someone else’s playlist going round. But the idea of getting outside and walking in nature, I love that! That’s how I relax. Wherever I am in the world, if I can, I get the chance to get out of my hotel, out of the arts centre, and get out into the hills – that’s what I love doing.

If you hadn’t been a musician, what might have happened?
That’s a very difficult question to answer because in a previous life I was a music teacher before I started my career as a singer, but it still has the word music in it. So if I’d just been a teacher I don’t know what I would have taught.

Any other passions?
That I could turn into a job?! You see the problem with that is that everything I do at the moment I do because I really enjoy it, and the fact that people are happy to pay me for it is a wonderful bonus. But if you ask me what I’d be doing if it wasn’t for music and it was a profession, then I’m a bit stuck! No – when my career is over I’ll come back to you and answer that one!

Is there anything else you want to share with the world? About you, music, politics or anything?
What’s in my heart that I’d like the world to know? That is tricky. I think the easiest way to answer that is sort of an advert, because the best way to get an answer to that is to listen to my music, or if not that you should listen to me singing other people’s music. Because I can’t give an answer to that question without sounding glib. The only way I can do that is musically, that’s the only realm where I’m comfortable to answer that question!

You can help commission Roderick William’s new work through the Musically Gifted campaign. Click here for more information.

Roderick Williams’ new work will be performed in the following At Lunch 2 concerts in 2014:

NORWICH – Assembly House - 31 January
LONDON – Wigmore Hall - 5 February at Wigmore Hall
SAFFRON WALDEN – Saffron Hall - 9 February
CAMBRIDGE – West Road Concert Hall - 11 February

Click here for more information, and keep an eye on our Facebook and Twitter pages for an announcement of the name of the new work.

This blog is a transcript of an interview by Gabrielle Deschamps (Britten Sinfonia Development Assitant) with Roderick Williams

Sally Beamish on composition

The Britten Sinfonia At Lunch series begins in December with At Lunch 1 and in addition to works by Mozart, Lutosławski and Fauré, we will hear a new work from Sally Beamish, co-commissioned by Britten Sinfonia and Wigmore Hall. We talk to Sally about what it’s like to be a composer and where she gets her inspiration from.


Please describe yourself in one sentence.
I’m a composer living in Scotland and I was a viola player for ten years in London but have always composed since I was 4 years old.

You were a performing musician and became a composer, tell us more…
I’ve always written music, since before I learned to read and write. My mother taught me to read and write music when I was 4 and in fact when I started piano lessons a year later I was quite indignant to have someone else’s music put in front of me so I wrote my own piano book ‘How to play the piano’. I felt that playing was terribly important as well and I studied the viola and managed to get into playing contemporary music in London. By doing that, I met a lot of composers who were working for groups like the London Sinfonietta and they helped me with scores which was fantastic. I think that’s something that’s always informed my music; I’m very aware of how it feels to play a new piece and the first reaction on seeing the notes on the page. Writing for strings is something that I understand from the inside so I’m very excited to be doing this piece.

What can you tell us about the piece you are writing for Britten Sinfonia?
Writing a piece for string trio is the bare bones of string writing. Like three legs is the minimum for a chair to stand up. You need those three parts, the top, middle and bottom. What tends to happen is that the viola player ends up almost playing two parts. If you look at Beethoven’s string trio, for instance, the viola part is really quite complex, holding it together from the inside.

As you are a violist yourself, do you find you write differently for that instrument?
I don’t think I’m consciously aware of writing differently for the viola, but I often do find that at significant points in the score I’ve given a solo to the viola, or I’ve written something for the viola section, I might open a piece with the viola. I’m not actually conscious of doing that but I think it is a special voice for me.

What inspires you?
I’m often inspired by extra-musical ideas so for instance landscape, words or maybe a poem. My violin concerto is based on ‘All Quiet on the Western Front’, a First World War novel and often paintings and dance have come into my music. Also, what I find very inspiring is other types of music, and living in Scotland has very often influenced my music because the culture of Scottish music is so strong and you’re so aware of it all the time.

Please tell us more about music in Scotland.
The first thing I noticed when I moved to Scotland is how strong the culture is, you’re surrounded by Scottish music in a way that I was never aware of in England. It’s a living form in Scotland. It’s quite cool for a teenager to go to a ceilidh for instance. Everyone’s there and it’s not something that defines your age at all. The forms of Scottish music are very strong as well and instantly recognisable and a very good basis. The variation form pibroch with the Scottish bagpipes is something I’ve used a lot in my work.

Does knowing the musician who will perform your piece affect your writing at all?
It’s great to know the players beforehand because then I immediately have their individual sound in my head. For instance, I’ve known Jackie Shave’s playing for years and years and years, and immediately I start to hear her playing when I start thinking about the piece I think of Jackie playing the piece. So that’s very exciting and very inspiring.

If you hadn’t been a musician and composer, what would you have been?
I don’t remember a time when composing wasn’t what I was going to do, but I do a lot of other things as well. I write short stories and poems and I’ve learned a lot from going to writers groups. Showing a poem to a group of people immediately generates lots of ideas because everyone feels comfortable with words. Whereas as a composer it’s much more difficult because you can’t really show your work to anyone in the same way until it’s in front of the players and then it’s too late to change it. So it’s quite an isolated way to work. I paint as well, and when I’m starting a new piece of music I very often think in terms of making a pencil sketch or an architect’s drawing of the shape of the piece before I start to colour it. Those sort of parallels are quite helpful.

What is your musical guilty pleasure?
I’m interested in all sorts of music, my sons are both involved in rock and pop music and we’ve done some projects together. I have huge admiration for those genres because the creators of it use their ears so much and everything is so immediate. That’s helped me a lot in my own workings out because as a classical composer you spend a lot of time looking at a page and working your systems out and actually just to let go of that and to improvise is a wonderful feeling.

Who would you like to work with?
I’ve been working a lot with Brandford Marsalis, a jazz saxophone player, and I’ve learned a lot from him and his way of working. And he also works with my classical music, so he’s played two of my saxophone concertos, which he calls songs, which I think is lovely!

What do you want to achieve within the next five years?
The thing that I’ve always wanted to do is to write for dance, and that’s something that hasn’t really happened until just recently. I was commissioned to write a ballet for the Birmingham Royal Ballet so that’s something I’ll be doing in 2016 and I’m looking forward to that hugely. I think all the music I write up to then is likely to be related to that feeling of dance. So I think the string trio will definitely be something that links in with that beginning to think about movement and drama as well.

On Commissioning
I think it’s fantastic that Britten Sinfonia has such a lively approach to commissioning new music through it's Musically Gifted programme. Of course, new music has to be part of the musical spectrum; the composers of today are the classics of tomorrow. As a composer, the more that you’re given to work with, the less scary it is. If a commissioner comes to you with an idea that’s a real challenge it’s very inspiring.

On New Music
It’s always nice when there’s something new in a concert, I’d always be more inclined to go to a concert if there’s a new piece. After all, 200 years ago people more or less only heard new music. They would go to concerts and hear the latest thing that had been written. Maybe it was The Magic Flute, and that would be the pantomime to take the kids to. We go to the latest music theatre piece, but with classical music there’s a little reticence from audiences that they may not understand. But actually I think that you can hugely engage with a new piece of music. Young people in particular seem to engage more readily with new music than perhaps they might do with Eine Kleine Nacht Musik where it doesn’t speak to them directly.

At Lunch 1 takes place on 11 December at Wigmore Hall, on 13 December at the Assembly House, Norwich and on 17 December in West Road Concert Hall, Cambridge. For more information and to book tickets, click here.

For more information on Britten Sinfonia's Musically Gifted campaign click here

This blog is a transcript of an interview by Gabrielle Deschamps (Britten Sinfonia Development Assitant) with Sally Beamish.