For once a blog that isn't on a friday night!
I feel its time for an update since it has been ages since the last one. Not too much has happened recently, went to Download music festival for a week and it was damn good.
As for compositional stuff. I started writing the opera after a few weeks of finding the 120 déçi-tâlas Messiaen wrote about and then trying to find translations. The translation side was almost impossible so I did my own which I'm thinking of posting on my site. Finally got that sorted and have about a minute of it written, so about 1/10th the way through. It is definitly a learning curve as I have never written for voice. Trying to think of a words rhythm and combine it inside the music is a little challanging simply because I've never done it before.
Also started on a piece for Alto Sax, Piano, Violin, Viola and Cello for the November Queen's Composer's Concert. Managed to write about 1min 30 in a day just sitting out in the garden. Really pleased with it so far. Definitly getting the nack for minds ear, though hearing it on sibelius helps and gives even more ideas to develope.
Finally heading to York on friday (the day after my 21st birthday :S) to hear Beyond the Tone being played at CNMC (creating new music comunities). Should be a fun weekend.
Sunday, 28 June 2009
Saturday, 6 June 2009
Opera
The last few weeks have been a little hectic, too hectic to post here. Mainly because of finishing off my septet The Space Within but its done and handed in. Would love to hear it played properly but don't know if I'll be able to organise it with the players I know. Its the first piece I've composed almost completely without a piano or Sibelius (only used either for a few chords) so hearing it on Sibelius and it almost being exactly how I imagined was amazing. The only problems were tempo markings but that isn't that big a deal. But knowing my inner ear is developing is definitely a good thing to know. Also got my electro-acoustic piece handed in Machinist's Visual Fallacy. This is my first piece to use c-sounds, takes a bit of getting used to but a really good tool to know. Will probably use some of the techniques in my acoustic pieces. In fact some electro-acoustic techniques inspired parts of The Space Within.
With The Space Within handed in I can now start properly on the opera. Met my librettist, James Johnson, on Wednesday to talk about some of the ideas I've got and how they fit with his libretto. Still haven't written any music yet but I think the ideas will work, just got more research to do into them before I can write. It will be three singers Soprano, Mezzo and Alto though I cant find an Alto! (Anyone know a good one who would like to sing in an opera?).
As for the dates of the performance its provisionally 5th 6th and 7th of November. This is provisional but it seems a decent amount of time to get things finished, organised, advertised and rehearsed. The lineup of composers has been expanded to five: Me (Matthew Whiteside), Omar Zatriqi, Eduard Zatriqi, Conor Mitchell and the new addition Gareth Williams.
There should be a website up soon for SPARK with everyone's details on it but here is a quick break done. Omar, Eduard and myself are all composers who are studying at Queen's Belfast. Omar and Eduard are heading into a masters in composition I'm heading into my 3rd year, Conor Mitchell is a London based musical theater and opera writer and Gareth Williams is an Armagh born composer. As for the librettists James Johnson is a Queen's graduate who has written a play for Tinderbox and Michael Shannon is currently studying for a masters in writing in Queen's. Its an interesting mix of students and professionals, hopefully a good mix!
Onto other stuff. The next Queen's Composer's Concert will be on the 25th of November in the Harty room. I've managed to organise a group of players for a yet to be writting piece of mine. Sometimes I dont know which is harder getting the players or writing the music either way I'm half way there. Think I've mentioned this in a previous blog but I'm heading over to York to hear Beyond the Tone being played at Creating New Music Communities. I've somehow managed to become the Northern Ireland contact for the event and I've promised a larger piece for next years event.
Finally a slightly sour note. A few months ago I entered SPNM's call for scores with my Quartet No. 1. Got word back this week that I didn't make it into the short list. Ach well theres always next year.
With The Space Within handed in I can now start properly on the opera. Met my librettist, James Johnson, on Wednesday to talk about some of the ideas I've got and how they fit with his libretto. Still haven't written any music yet but I think the ideas will work, just got more research to do into them before I can write. It will be three singers Soprano, Mezzo and Alto though I cant find an Alto! (Anyone know a good one who would like to sing in an opera?).
As for the dates of the performance its provisionally 5th 6th and 7th of November. This is provisional but it seems a decent amount of time to get things finished, organised, advertised and rehearsed. The lineup of composers has been expanded to five: Me (Matthew Whiteside), Omar Zatriqi, Eduard Zatriqi, Conor Mitchell and the new addition Gareth Williams.
There should be a website up soon for SPARK with everyone's details on it but here is a quick break done. Omar, Eduard and myself are all composers who are studying at Queen's Belfast. Omar and Eduard are heading into a masters in composition I'm heading into my 3rd year, Conor Mitchell is a London based musical theater and opera writer and Gareth Williams is an Armagh born composer. As for the librettists James Johnson is a Queen's graduate who has written a play for Tinderbox and Michael Shannon is currently studying for a masters in writing in Queen's. Its an interesting mix of students and professionals, hopefully a good mix!
Onto other stuff. The next Queen's Composer's Concert will be on the 25th of November in the Harty room. I've managed to organise a group of players for a yet to be writting piece of mine. Sometimes I dont know which is harder getting the players or writing the music either way I'm half way there. Think I've mentioned this in a previous blog but I'm heading over to York to hear Beyond the Tone being played at Creating New Music Communities. I've somehow managed to become the Northern Ireland contact for the event and I've promised a larger piece for next years event.
Finally a slightly sour note. A few months ago I entered SPNM's call for scores with my Quartet No. 1. Got word back this week that I didn't make it into the short list. Ach well theres always next year.
Friday, 15 May 2009
Friday Again
This does really seem to be a weekly blog. This week hasn't involved anything too exciting. Just working and going to concerts. Went to seven concerts this week, six of them part of Sonorities Festival at Queen's and one of those being five hours long! Not all of them good though, POW ensemble was a little weird but the rest (CMC Composers’ Platform, Bird on a Wire, Trio Scordatura and Move) were really good. Possibly going to write something for Bird on a Wire when I get a chance.
The next Queen's Composer's Concert has confirmed a date, Wed 25th November. There are so many people interested I've started organising another one for the 24th of March 2010, or around then anyway. Ages away but why not be organised?
Finally got my electro-acoustic piece finished and called it "Machinist's Visual Fallacy". More details on that will be up soon once its handed in and marked. Just have to do an analysis of Ricardo Climent's Silent Era now and thats electro-acoustic comp finished for this year.
Like I said nothing too exciting this week going to start getting stuck into other compositions next week I think.
Until next Friday (probably).
The next Queen's Composer's Concert has confirmed a date, Wed 25th November. There are so many people interested I've started organising another one for the 24th of March 2010, or around then anyway. Ages away but why not be organised?
Finally got my electro-acoustic piece finished and called it "Machinist's Visual Fallacy". More details on that will be up soon once its handed in and marked. Just have to do an analysis of Ricardo Climent's Silent Era now and thats electro-acoustic comp finished for this year.
Like I said nothing too exciting this week going to start getting stuck into other compositions next week I think.
Until next Friday (probably).
Friday, 8 May 2009
This week
I always end up posting blogs at the end of the week, hmmm.
Anyway, this week has been rather hectic even with an extra day off at the start just work work more work oh and 3 concerts and a workshop (by the Lawson Trio) in 2 days. Unfortunately the workshop wasn't for my own compositions but for phd composers. Got some great ideas from it though which will be in my next composition. Well maybe not the next one (that should be the opera) but the one after that. Also went through Dogs and Wolves by Piers Hellawell with Piers. Really like that piece now and the way he works the orchestra is really interesting. If you haven;t listened to it give it a go. Gave me some ideas to put into my septet (The Space Within). I know I keep saying its finished but I keep making little changes...
Got a few more details on the concert in Cork. It will be somepoint mid November and it will hopefully be my Quartet No. 1 rather than Beyond the Tone being played. Going to use the same players that I used for the recording on my site, if they are free and we can get accommodation down there. I didn't say there were many more details just a few more!
Also started organising another Queen's Composer's Concert this week. It will be roughly the same setup as before but with the possibility of maybe one piece with electronics/tape piece possibly. The electronics is just an idea at the moment not sure how will it would work in the room but its maybe possibly a possibility (maybe!). Out of the seven replies I've got back from the email I sent, two have been electro-acoustic pieces so there is definitely and interest the rest were standard acoustic composers. Going to give it another week or two before deciding for sure which composers to choose. Thankfully know a bit more about organising this kind of thing this time than last so should run a little smoother. Thinking that the concert will be around November/December time to give people rehearsal time but not too close to hand in dates.
Finally I do apologise for my previous blog, it was written late at night and very much a stream of consciousness. Need to go back and edit it, will be posted up here when I do.
One more note, sonorities festival is on round queens this week. There are around 10 concerts on starting tonight of contemporary music. Have a look here for more info.
Anyway, this week has been rather hectic even with an extra day off at the start just work work more work oh and 3 concerts and a workshop (by the Lawson Trio) in 2 days. Unfortunately the workshop wasn't for my own compositions but for phd composers. Got some great ideas from it though which will be in my next composition. Well maybe not the next one (that should be the opera) but the one after that. Also went through Dogs and Wolves by Piers Hellawell with Piers. Really like that piece now and the way he works the orchestra is really interesting. If you haven;t listened to it give it a go. Gave me some ideas to put into my septet (The Space Within). I know I keep saying its finished but I keep making little changes...
Got a few more details on the concert in Cork. It will be somepoint mid November and it will hopefully be my Quartet No. 1 rather than Beyond the Tone being played. Going to use the same players that I used for the recording on my site, if they are free and we can get accommodation down there. I didn't say there were many more details just a few more!
Also started organising another Queen's Composer's Concert this week. It will be roughly the same setup as before but with the possibility of maybe one piece with electronics/tape piece possibly. The electronics is just an idea at the moment not sure how will it would work in the room but its maybe possibly a possibility (maybe!). Out of the seven replies I've got back from the email I sent, two have been electro-acoustic pieces so there is definitely and interest the rest were standard acoustic composers. Going to give it another week or two before deciding for sure which composers to choose. Thankfully know a bit more about organising this kind of thing this time than last so should run a little smoother. Thinking that the concert will be around November/December time to give people rehearsal time but not too close to hand in dates.
Finally I do apologise for my previous blog, it was written late at night and very much a stream of consciousness. Need to go back and edit it, will be posted up here when I do.
One more note, sonorities festival is on round queens this week. There are around 10 concerts on starting tonight of contemporary music. Have a look here for more info.
Friday, 1 May 2009
The Mirror of Art
The arts are the mirror on society. Is this why society can never accept contemporary art? Art that shows the truth that people don’t want to see. When looking back at history the music of each period perfectly fits the period’s image, to a modern viewer. The music of the renaissance and Baroque periods were reserved and followed strict tonal rules, mirroring the reserved nature of the aristocracy and the control exerted on the population. The reserved nature was mostly driven by a desire of the commissioners for music to dance to. The reserved feeling continued into the classical period but by the time of Beethoven the link between commissioner and composer had diminished. There were fewer court composers and so less commissions for music to dance to. This left composers free to do as they pleased but still kept the tonal rules, though stretched quite excessively.
Composers such as Beethoven almost completely threw away the ideas that music had to be small and reserved. During the classical period the French and American Revolutions occurred showing a breakdown of aristocracy’s dominance over the population. This is quite obviously mirrored in the music of the time in things such as the diminishing use of dance rhythms and the larger freer motivic and harmonic development. These ideas though freer than before still have more than a little semblance of tonal structure, implying that the control by the ruling class is still very much there.
Then we get into the romantic period, of long flowing free melodies that seem to wallow in their own art. This art was being imported from all over the world such as Debussy being influenced by oriental oils and carvings. The world was getting smaller, society becoming more homogeneous, different ideas imported and exported and the influence on the music was again obvious. When Debussy started playing with the colour of notes on the piano he was scoffed at by his teacher. Like all other composers before he was criticised for ‘bad’ music simply because it did not conform to previous expectations and the rules used by previous generations. He was showing freeness in composition that was unheard of 50 years ago yet the freeness was a sign of the freer nature of society.
Very swiftly after we get Vaughn Williams who was a massive patriot and used English folk tunes of the time as the basis of his music. This mirrored English society’s longing for older times, as the colonies were definitely gaining freedom at this point. Though at the very same time we have the second Viennese school. A school of thought and composition that encouraged untold of control over music through serialism but also the complete breakdown of tonality. Even though serialism was a massive controlling influence Schoenberg taught that a composer should create the tone row and then compose as before. In other words write what you like within the confines of the tone row. These two completely contrasting ideas again mirror society at the time of their fruition. Vaughn Williams the nationalist, showing the nationalistic feelings of Europe leading up to WW1 and Schoenberg the serialist showing the increased mechanisation of the time. After WW1 the control in serialism and the nationalism of Vaughn Williams can then be combined to show the ideologies’ of the Nazis this time leading up to WW2.
Skip ahead a little and we get into the domain of Boulez and Messiaen. Boulez is experimenting with total serialism and Messiaen is playing with colour in the same way as Debussy. The control has become great with Boulez and the colour more vivid with Messiaen. This again is societies mirror. Messiaen is showing the colour of the 60s while Boulez is showing the control the state is beginning to have.
Listen to the music of today, what does it say about today’s society? Does the music imply stately and reserved, happy, bright, controlled, dark or sad? Has the control that was once serialism bled into music so much that even if society is totally free the music is now unable to express it or is the new harmonic language of this generation generally darker than previous generations? The world seems to be slipping into a state of more control and anguish and this is reflected in the music. Atonal music can be beautiful but it is also almost always angular. Look into the mirror that is music and the arts, what is the world today?
The idea for this came to me earlier when I was reading the first lecture in Orientations by Boulez. I'm sorry if it rambles a bit but it is very much a stream of thought I wanted to get down there may be edits done sometime soon but not tonight. Its almost 3! Any comments are more than welcome I would quite like to get other peoples views on this.
Composers such as Beethoven almost completely threw away the ideas that music had to be small and reserved. During the classical period the French and American Revolutions occurred showing a breakdown of aristocracy’s dominance over the population. This is quite obviously mirrored in the music of the time in things such as the diminishing use of dance rhythms and the larger freer motivic and harmonic development. These ideas though freer than before still have more than a little semblance of tonal structure, implying that the control by the ruling class is still very much there.
Then we get into the romantic period, of long flowing free melodies that seem to wallow in their own art. This art was being imported from all over the world such as Debussy being influenced by oriental oils and carvings. The world was getting smaller, society becoming more homogeneous, different ideas imported and exported and the influence on the music was again obvious. When Debussy started playing with the colour of notes on the piano he was scoffed at by his teacher. Like all other composers before he was criticised for ‘bad’ music simply because it did not conform to previous expectations and the rules used by previous generations. He was showing freeness in composition that was unheard of 50 years ago yet the freeness was a sign of the freer nature of society.
Very swiftly after we get Vaughn Williams who was a massive patriot and used English folk tunes of the time as the basis of his music. This mirrored English society’s longing for older times, as the colonies were definitely gaining freedom at this point. Though at the very same time we have the second Viennese school. A school of thought and composition that encouraged untold of control over music through serialism but also the complete breakdown of tonality. Even though serialism was a massive controlling influence Schoenberg taught that a composer should create the tone row and then compose as before. In other words write what you like within the confines of the tone row. These two completely contrasting ideas again mirror society at the time of their fruition. Vaughn Williams the nationalist, showing the nationalistic feelings of Europe leading up to WW1 and Schoenberg the serialist showing the increased mechanisation of the time. After WW1 the control in serialism and the nationalism of Vaughn Williams can then be combined to show the ideologies’ of the Nazis this time leading up to WW2.
Skip ahead a little and we get into the domain of Boulez and Messiaen. Boulez is experimenting with total serialism and Messiaen is playing with colour in the same way as Debussy. The control has become great with Boulez and the colour more vivid with Messiaen. This again is societies mirror. Messiaen is showing the colour of the 60s while Boulez is showing the control the state is beginning to have.
Listen to the music of today, what does it say about today’s society? Does the music imply stately and reserved, happy, bright, controlled, dark or sad? Has the control that was once serialism bled into music so much that even if society is totally free the music is now unable to express it or is the new harmonic language of this generation generally darker than previous generations? The world seems to be slipping into a state of more control and anguish and this is reflected in the music. Atonal music can be beautiful but it is also almost always angular. Look into the mirror that is music and the arts, what is the world today?
The idea for this came to me earlier when I was reading the first lecture in Orientations by Boulez. I'm sorry if it rambles a bit but it is very much a stream of thought I wanted to get down there may be edits done sometime soon but not tonight. Its almost 3! Any comments are more than welcome I would quite like to get other peoples views on this.
Sunday, 26 April 2009
This Week
Back to uni tomorrow after being off for about 3wks. Got most of the work at least started thankfully and got my septet (now named The Space Within) pretty much finished. I think I'll go over it a bit more and tweek some of the ideas but it has become more substantial than I had expected (150 bars!) though I haven't worked out the playing time yet but needs to be at least 4mins. Its really funky there will be more details on the ideas behind it once I've handed it in. With the work I had to do there was hardly any time for any piano practice which is really annoying. I'm improving but not as fast as I could be.
More news on the SPARK(once I remember what it stands for I'll tell you) opera project. I have a tutorial with librettist Peter Morgan Barnes this week. When I was told the name it rung a bell but couldn't work out why, judging by his site he is very experienced. Any advice from someone with more experience than me is good. I still haven't had a chance to start on the music but I have set aside about month during the summer where I can lock myself in a room if need be.
Also there is a slight chance of getting a piece of mine played at a Cork music concert, I think something along the lines of the concert Daniel and I did the other week. The organiser's friend tentatively mentioned it to me. I doubt I will have a chance to write anything new but if not it will give me impetus to get 'Beyond the Tone' done out fully in Sibelius. Dont know how likely it is but there's no harm in hoping, hopefully get a performance out of it!
Finally, I have the recordings of the full Queen's Composer's Concert and have sent them out to those involved. Really nice recordings and everyone seems happy with them. I'll post links if anyone else uploads theirs. My Quartet No. 1 is on my site here.
Started off this blog thinking there wasn't much to say but as always I managed to surprise myself in how much I can write. Until next time.
More news on the SPARK(once I remember what it stands for I'll tell you) opera project. I have a tutorial with librettist Peter Morgan Barnes this week. When I was told the name it rung a bell but couldn't work out why, judging by his site he is very experienced. Any advice from someone with more experience than me is good. I still haven't had a chance to start on the music but I have set aside about month during the summer where I can lock myself in a room if need be.
Also there is a slight chance of getting a piece of mine played at a Cork music concert, I think something along the lines of the concert Daniel and I did the other week. The organiser's friend tentatively mentioned it to me. I doubt I will have a chance to write anything new but if not it will give me impetus to get 'Beyond the Tone' done out fully in Sibelius. Dont know how likely it is but there's no harm in hoping, hopefully get a performance out of it!
Finally, I have the recordings of the full Queen's Composer's Concert and have sent them out to those involved. Really nice recordings and everyone seems happy with them. I'll post links if anyone else uploads theirs. My Quartet No. 1 is on my site here.
Started off this blog thinking there wasn't much to say but as always I managed to surprise myself in how much I can write. Until next time.
Sunday, 12 April 2009
Recording
Got the recording of Quartet No. 1 up on my site here. Really pleased with it, best recording of anything of mine so far :). Hopefully get the other recordings and possibly put them onto my site or somewhere for anyone to listen.
Still getting feedback about the concert as well, someone has even asked if I plan to do an electro-acoustic one (hadn't thought of it by maybe).
Thats about all, work on the septet is still coming along nicely and recording samples for my electro-acoustic piece as well yesterday.
Still getting feedback about the concert as well, someone has even asked if I plan to do an electro-acoustic one (hadn't thought of it by maybe).
Thats about all, work on the septet is still coming along nicely and recording samples for my electro-acoustic piece as well yesterday.
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