Page 107 - FINAL_Guildhall Media Highlights 2019-2020 Coverage Book

a great deal to me, as I made the decision not to study composition formally at
an institution at Masters level.
What have been the greatest challenges/frustrations of your career so
far?
The greatest challenge of my career so far has been combining piano work
(principally as a répétiteur and contemporary ensemble pianist) with
composition work. For the past year I have focused almost exclusively on
large-scale commissions, while continuing piano work with more personal
projects, such as workshopping and performing new pieces by Edinburgh
University PhD composers.
What are the special challenges/pleasures of working on a
commissioned piece?
The parameters defined by a particular commission usually make the creative
process more focused and fluid. Boundaries – a certain number of players, a
particular venue etc – suddenly allow you a defined space to explore and test
ideas vigorously.
What are the special challenges/pleasures of working with particular
musicians, singers, ensembles and orchestras?
Writing for particular musicians brings a vital energy to the creative process.
Especially working with singers, you can really play with the unique vocal and
performative qualities of a particular artist to create something more satisfying
for the performer and audience alike.
Of which works are you most proud?
‘The Angel Esmeralda’ – an opera for Guildhall School of Music & Drama after
Don DeLillo’s short story with a libretto adapted by Pamela Carter – has been
my dream project since I first read the story in 2013. It will finally be performed
in the School’s Silk Street Theatre from 24 February – 2 March this year.
Pamela Carter’s adaptation is so skillful that it has allowed me to create a
strong dramatic shape with the music. I very much feel our approaches to text
and music are entirely integrated, which is a rare thing to share between
artists.
How would you characterise your compositional language?
My compositional language embraces many elements. Most of all it is lyrical –
I enjoy creating long melodic lines which interact and create tension with an
underlying harmonic structure. Frequently a harmonic structure grows out of a
melodic idea. I also love being playful with rhythm, and creating catchy
rhythmic structures that stick in the mind!
I also like playing with harmony which changes gradually over time, such as a
chord being altered by a note or two until it becomes an entirely new harmonic
area.
How do you work?
I always sketch a broad outline of the work first of all at the piano. This gives
me a clear structural shape for the piece, so I can achieve a sense of
directionality. If writing an operatic piece, I sketch all vocal lines for the piece
with a harmonic underpinning for the entire work. After this, I work through the
material very thoroughly to produce the final score.