EE6 ft. Loré Lixenberg
Fri 26 April 2019 Listen! Cambridge
Sun 28 April 2019 Café OTO
As of late, I find that I am very much focused on composing rather than any form of performance, and like many composers I would say that my focus is just to write as much music as possible, to the highest standard possible. Other than that I wouldn’t say I have an overall aim as an artist. My artistic preferences and priorities are constantly shifting and evolving. Each project and piece I write is a unique challenge and the way I respond is quite dependant on the musicians I am working with and so many other conscious and unconscious factors.
Before writing anything for Ensemble Entropy I had a look at other composers’ music that allowed some form of musical freedom. I found that notation was quite a pivotal part of the process of creating this music. One example of that is Water-Ways by Takemitsu. The rhythmic freedom in notation enhances its drifting watery feeling but Takemitsu’s complex harmonic language is not compromised.
My approach developed out of my initial musical sketches, which played with intervals, specific chords and instrumental colours. From there I developed my own notational style that, much like Takemitsu, allowed rhythmic freedom but facilitates clear vertical sonorities in the music.
Ensemble entropy is a fantastic group to write for because of their incredible musical sensitivity and commitment to the works they perform. They played the music last time with a wonderful poetic quality. I felt they understood what I had written, from my notation, to conceptually what my aim for the piece was.
I have made a few small changes to the music for the upcoming concert at Cafe Oto and Listen! Cambridge but it will be the same for the most part.
As I have evolved as a composer I have been more resolved to trust my instincts and let my heart lead my music. I think that if a lot of my work shares a feeling of delicacy or passion it is just a symptom of that reliance on instinct and allowing the sounds that I love to surface.
Yes. I was lucky enough to be commissioned by Chineke! Orchestra again recently. I am finishing off a piece for String Orchestra and Wind Quintet, inspired by the Bristol Bus Boycott of 1963 and dedicated to the inspiring Paul Stephenson. That will be performed in Bristol in May of 2019.
There is a challenge when writing music that has an element of freedom. I found I had to adjust my normal approach but once I found a starting point it was quite liberating.
This is a chance to be adventurous, don't be afraid to re-write the book so to speak.
And finally rely on the ensemble. Get them to answer questions and discuss what you need to write the piece. They are incredible helpful!
Questions from ML April 2019