White Storks online

This week’s breaking news is that my new piece White Storks for string octet is now available online.

On Sunday 19th July 2020 Shipley Arts Festival broadcast their Wilding Concert on Zoom. It was the festival’s 6th concert to reach the audience via the internet during the COVID-19 pandemic. The concert included pre-recorded performances from three venues in and around Shipley in West Sussex.

I am really delighted to have been asked to write a new piece to celebrate the return of white storks to the UK after over 600 years and to have had the chance to work with the Shipley Arts Festival. The world premiere of my White Storks string octet came towards the end of the concert, filmed and recorded the previous weekend at the Knepp Estate in Shipley, where the storks have been re-introduced. The new octet was performed by members of the Bernardi Music Group and accompanied by dancer Vikkie Mead.

Now in it’s 20th year Shipley Arts Festival, led by violinist and artistic director Andrew Bernardi, is exhibiting an admirable doggedness and determination to keep going under difficult circumstances and is succeeding in entertaining and moving a growing audience at a time when we all desperately need creative and cultural stimulii. The whole concert can now be viewed on Andrew Bernardi’s You Tube channel. along with the previous 5 concerts of the 2020 festival.

The new commission has attracted some media interest with plugs on BBC Radio 3 and Classic FM as well as interviews on Radio Sussex’s Breakfast Show with Mark Carter (our interview is 1 hr and 50 mins into the show) and a magazine show, Local World which goes out weekly on two community radio stations in West Dorset: Abbey104 in Sherborne and KeeP106 in Dorchester (my interview with presenter Jenny Devitt and an extract of the new piece is 13 minutes into the 23/07 programme).

I am so grateful to all involved for giving me this wonderful opportunity. They are all named at the end of the concert film. Do take a look.

Of course now, I’m noticing storks everywhere – This morning I went to our drawer of postcards collected by both me and Steve over the last 40 or more years and the first one a picked up was this, produced by German postcard makers Editions Michel + Co in their Sundshine cards category. There definitely seems to be a story here – but what?…… if this rings any bells with anyone, I’d love to know.

Birds and music

Image by katja from Pixabay

In just over 48 hours we will be able to see and hear Shipley Art Festival’s Wilding Concert beamed across the globe via Zoom. Last Sunday the Bernardi Music Group and I gathered, physically distanced of course, at Knepp Castle to record my new commission, White Storks for String Octet. It was the most overwhelming experience – hearing what’s been going round in my head for weeks in reality for the first time. Thanks to the brilliant players and the excellent film and sound producers the piece was reheased and recorded from a standing start in about an hour and a half.

You can get your ticket by visiting the Shipley Arts Festival website and following ‘forthcoming events’ and 19th July or you can go straight to the eventbrite ticket page here.

Shipley Arts Festival have been broadcasting their concerts on YouTube and Zoom since the beginning of lockdown, refusing to give up the idea of sharing music with their friends and audience. In fact this way, people from far and wide can join in and it may be that some who have been unable to attend concerts for years suddenly find themselves among the audience. There are a few silver linings to the restricted world we find ourselves in.

Birds are a frequent source of inspiration for artists of all kinds, but music and dance seem to echo the kinds of words we use to describe the nature and behaviour of birds – flying, soaring, gliding, spiraling. In the first section of my new piece I am imagining the white storks near the end of their journey from Africa to Sussex, glimpsed in the distance, floating in the air, then as individual birds come into view you start to hear solo musical phrases which leap and dip. When we were recording – I explained that the way to play the phrases as I imagine them is to feel like a bird in flight, or a bird on the nest – the storks have a strange way of moving back and forth on the nest as though they can’t quite decide where to stand. The way a stringed instrument is played with the long sweep of the arm with the bow is perfect for this kind of visualisation. The 8 string players play in pairs, sometimes moving as one, sometimes more like a duet or one echoing the other. I’ve tried to write it as a very democratic piece to play. All the players have their moments.

Throughout the process I have been following The White Stork Project on social media and seeing the work of various photographers. I still haven’t seen the storks in real life so for now these amazing images are my reality. Last Sunday I met photographer Malcolm Green who has been following the progress of the White Storks at Knepp for the last 2 years. This is what he said about my new piece:

Your composition is beautiful and it resonated with me because I have watched and photographed the white storks at Knepp Castle Estate for 2 years and your music captures the magic and behaviours of these incredible birds. The white stork project is a re-introduction programme based in West Sussex and it is a wonderful advert for conservation. Your composition is perfect timing too as the first wild storks have successfully bred in the UK for the first time since 1416. For me, your music has now become the white stork project theme tune. Thank you! 

So please do join us on Sunday at 6.00 pm for the Shipley Arts Festival Wilding Concert and the world premiere of White Storks.

Off to Knepp

Tomorrow, Steve and I will be driving off cross country for the first time since the beginning of lockdown. We will be travelling on the iconic A272, subject of ‘A272: An Ode to a Road’ by Pieter and Rita Boogaart, heading for the Knepp estate in Shipley, West Sussex, where the Bernardi String Octet will be recording my new piece, White Storks.

Four of the octet are the members of the quartet who performed in Artmusic’s ‘In the Field’ in Wadhurst in May 2015 and played my ‘A Field in May’ so beautifully. This commission is a consequence of that collaboration and it will be great to be working with those players again.

This morning Andrew Bernardi and I were interviewed on BBC Radio Sussex. The White Stork Project and Shipley Festival’s innovative online concerts are attracting a lot of attention. This concert is special in that it brings together Knepp’s rewilding project and the storks with music and the local community which supports Shipley Arts Festival. This is all very rooted in Sussex but interest in rewilding and protecting endangered species is universal. Because of the online platform we hope the audience will be from across the globe.

The first of the stork chicks flew the nest on Thursday afternoon. The other chicks may be taking their first flights while we’re at Knepp, which would be very exciting to see. The first new stork life in Britain for 600 years. They are beautiful, engaging birds with great character and I feel very fortunate to have been asked to write music to celebrate their return to our landscape.

You can see video of the first chick’s first flight on instagram at @kneppsafaris and you can follow the progress of the storks by visiting the White Stork Project website. And to find out more about the concert on Sunday 19th July and to buy tickets visit the Shipley Arts Festival website.

Pencil and paper

White Storks parts 1
22 pages of parts for my new White Storks string octet

I have been promising myself for years that I will aquire and learn to use a music writing software package. And, thanks to a bit of emergency COVID19 funding from Arts Council England, I will be able to buy my preferred software and aquaint myself with the joys of digital music writing over a semi-locked down summer.

However, I am very much in two minds.  Sitting at the piano with a lovely soft pencil in my hand and blank manuscript paper on the music stand, I feel a bit like an artist poised, brush in hand, to make the first marks of a new painting. It’s not a part of the process that I want to move onto the computer. So sketching out initial ideas will definitely stay analogue.

If it’s an ensemble piece, as in the case of White Storks, even when the score is finished there are the parts to write.  A totally different kind of exercise – very practical – a matter of putting down each player’s notes in such a way that they will be able to understand what’s going on in the other parts without cluttering their page.

White Storks the right ruler

I get my tools together: a pencil, preferably B, a very good rubber and a ruler – I use my father’s old Gestetner ruler – the best ruler I’ve found yet.   In the vicarage in Wolvercote, when I was growing up, the Gestetner duplicating machine sat in the corner of the dining room.  My father would write the notices for the Sunday service by hand.  Then my mother would sit up on Saturday evenings typing them onto the very distinctive Gestetner stencils ready for feeding through the machine to print the sheets for the next day.  I would often come home after a Saturday night out to be welcomed by the ink smells and the machine noises of the Gestetner at work.  So the ruler which I have inherited must have come with the machine. Anyway, a ruler is essential. Hand-drawn note stems are fine but bar lines must be straight.

pencil and music paper

I noticed today after writing with it all week that the pencil I was using had the words ‘shadow play’ printed on the side. So actually it is a drawing pencil designed for creating light and shade – hopefully this is what I’ve been doing with it in some way.

Am I talking myself out of getting to grips with digital technology? No, I’m sure I will find ways to integrate modern ways into my practice, comfortably old-fashioned as it currently is. It’s strange really as, in my work with Artmusic, digital technology is an essential part of the production and presentation process.

Now my hand-written parts for White Storks have winged their way to Sussex and the members of the octet. On Sunday we will gather at Knepp Castle to perform the piece for the first time and record it for broadcast on Zoom the following week.

And meanwhile the source of the inspiration for the piece, the white storks, are busy. The first of the recently hatched chicks took it’s first flight yesterday afternoon. See @Kneppsafaris on Instagram for video footage. These are the first white storks born in Britain for 600 years. This young stork’s siblings will surely take their first flights over the coming days. The ambition is for there to be at least 50 breeding pairs in Southern England by 2030. Such a brilliant story to write music for. Such a privilege.

The Zoom virtual concert featuring my new piece is at 6.30 pm on Sunday 19th July 2020. For more info and links to tickets visit Shipley Arts Festival

For more information about the White Storks visit the White Stork Project

White Storks arriving

 

Writing White Storks

The first section of my new piece for String Octet depicts the arrival of the White Storks on their journey from Africa to West Sussex.

This is the first time I’ve written a piece that you might call programmatic – telling a story, having a narrative.  It’s a simple narrative describing  the stork’s migratory journey, but also at the same time I am attempting to depict in music their soaring flight, their inelegant flapping and tramping around the nest and the unforgetable way they clatter their bills.

I’ve always been interested in musical performance as choreography, playing with the moment that gesture becomes sound.  And string players would seem to be ideally suited to depicting flight as they make their notes with sweeps of their arms and bows. I hope I can combine the look and the sound in the way I am imagining.

In this first section, the arrival of the white storks, I have used long melodies with large intervals to reflect the wide wing span of the birds as they ride the thermals and spiral in the air.  The tempo quickens as they flap their wings and then they glide again.  In the end though, music is an abstract art and although it’s useful to make pictorial analogies for inspiration and for writing, I hope that what is conveyed is the spirit of flight and flap without seeming too literal.

White Storks will be recorded at Knepp and broadcast in a special Shipley Arts Festival Zoom concert on Sunday 19th July 2020.  https://shipleyartsfestival.co.uk/andrew-bernardi-knepp-castle/

 

 

 

 

Music for the White Storks

white storks
flight of the white stork

Earlier this year I was invited to write a new piece about the white storks at the Knepp Estate in Sussex.  White storks have been absent from the English landscape for several hundred years but are being encouraged back by rewilding projects around the country, including at Knepp.  You can find out more about the White Stork Project here  and if you are interested in going on a virtual stork walk follow this link.

The commission has come from Andrew Bernardi and the Shipley Arts Festival.  Knepp is in the village of Shipley and the festival and the estate are frequent partners, including an annual concert at Knepp Castle now titled ‘The Wilding Concert’.  The new piece, for String Octet was to have been performed as part of the Wilding Concert on Sunday 21st June 2020.  Due to covid19 the concert has been postponed but the festival, the string octet and I are busy collaborating and working towards a virtual premiere of the new work.

Over the coming weeks I will be documenting the progress of the piece in this blog.  Because of the remote nature of the collaboration bits of score and recording will be flying back and forth between Frome and Sussex.  I will be employing the kind of techniques I use for creating sound installations, recording fragments and experimenting with different combinations.  It’s exciting to be working with such great musicians and to get the chance to hone the material with their help into what I hope will be a landmark piece.

You can also follow the progress of the white storks and their fledgelings on the knepp instagram account @kneppsafaris

LISTEN

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I’ve been invited to be the curator for a new season of sound art and site specific music, hosted by Black Swan Arts in Frome.  We will celebrate listening and hearing in all kinds of ways and situations and have a brilliant collection of artists lined up.  There will be exhibitions, installations, concerts, sound walks, workshops, talks………

Nearly finished fundraising….  but we still need to raise £4000, so the last push to meet our target is through a Crowdfunder campaign.  Visit www.crowdfunder.co.uk/listen to find out more and pledge your support.  The campaign runs until 11 pm on Wednsday 22nd May.  Please help if you can.  Thank you.

And if you’ve already heard about this through other means, please forgive the repetition.

 

New Spring Project

Over the last few months I’ve been working on a new sound piece for an exhibition called FIFTY BEES III.  (9 March – 6 May, Brewhouse, Taunton. Times vary Open Monday-Saturday 9:30am-4:30pm)

A bit of background………….

Lydia Needle sculpts British Bees in wool and stitch. She invites other artists to create responses to the ecology and hidden worlds of each individual bee.

For each of the FIFTY BEES exhibitions, fifty artists, makers, writers and musicians produce one new work in response to one of the bees, in order to give a fuller illustration of the diversity of our bee population, how endangered it is and how our pollinators are completely interlinked with our ecosystem.

There are 270 different bees in Britain.  With this the third exhibition 150 of these will have been studied and celebrated.

The bee that loves blackberries

Composed by Helen Ottaway  Voice Caroline Radcliffe

 

blackberries3
Visual artist, and my frequent collaborator, Rowena Pearce introduced me to Lydia Needle and her bee project.  I visited the FIFTY BEES II exhibition in Langport in 2018, including a piece by Rowena and found it captivating and full of beautiful work.  As far as could tell there had not so far been a response in sound and so I proposed that I might compose a soundscape for the next exhibition.  The bee chosen for me is Andrena flavipes, the yellow-legged mining bee.  This is a solitary bee, quite common in southern England, with, as the name suggest, bright yellow legs. 50951975_762101934154165_6789635059163856896_n

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I particularly love the fact that Lydia made this bee while by the sea in Cornwall.  Water is often a strong influence in my work and in this case it’s already woven into the making of Bee 108.  I used the sound of bees as the starting point for my piece.  Bees buzz by moving their flight muscles and wings as they fly. Mining bees also buzz while pollinating, vibrating the flowers to release the pollen.  The pitch of the buzz varies according to the bee’s size. Buzz-pollinating has its own distinctive sound. When I was given my brief, at the end of August last year, the bees were still flying so I was able to do some field recording to capture the buzzing that forms the basis of my piece.

So with the buzzing in my ears I sat at the piano, pencil in hand and notated to the best of my ability the pitches and patterns made by the bees.  The resulting melodies and patterns for voice all have their origins in the field bee recordings.  Along with notating the musical sounds made by the bees I have included some of the names of the flowers frequented by my bee.  Like me, this bee likes to forrage on brambles, hence the title.
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The vocal parts are performed by singer and choir leader Caroline Radcliffe and recorded in her home studio in Frome. The voice starts by copying the bee sounds and then gradually turns the buzzing into interweaving melodic lines.
The piece needed to be played through something and housed in something and so Steve and I set about designing a bespoke box.  He found materials – foraged from our cellar and railway sites – and put together a plain and practical wooden box.  There’s just room for the playback devise, mini headphone amp and plugs inside and there are holes for the power cable and heaphone leads.  The headphones hang on a piece of broom handle slotted across the width of the box.  It’s all very self contained and simply needs to be plugged in to play.

 

The exhibition is at The Brewhouse, Coal Orchard, Taunton, Somerset from Saturday 9th March until Monday 6th May. There are special FIFTY BEES events during the run including workshops, family days and ‘meet the artists’ sessions.  See the Brewhouse website for more details.  All are welcome to the launch on Saturday 9th March 5 – 7 pm.

To listen, purchase and download The bee that loves blackberries visit my bandcamp page here.  More information on Lydia Needle and the FIFTY BEES project can be found here.

Thank you

With many thanks to Bridget and Rob for the use of their garden for field recording; Satsymph for technical advice; Alastair Goolden for technical advice and electronics; Caroline Radcliffe for her beautiful voice and Steve Ehrlicher for making the box and general support.

 

 

Sura Medura exhibitions in Edinburgh and Glasgow

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photo Lorna Rees

UZ Arts are hosting two exhibitons of work by artists who took part in the Sura Medura International Artists Residencies in Sri Lanka in Autumn 2017 and Spring 2018.  The Edinburgh exhibition includes the sound installation I made at Sun Beach Hotel in Hikkaduwa and I will be demonstrating my musical box at the private views in both Edinburgh and Glasgow.  Details below:

EDINBURGH

Basement Galleries,  Summerhall
1 Summerhall, Edinburgh, EH9 1PL

Sura Medura

Thu 02 Aug 2018 – Sun 23 Sep 2018

Artists:

Tanuja Amarasuriya and Tim X Atack (Sleep Dogs), Emma Brierley, Flick Ferdinado, Brian Hartley, Kyna Hodges, Rob Mulholland, Helen Ottaway, Lorna Rees, Anders Rigg, Rae- Yen Song, Suba Subramaniam, Claire Raftery, Damian Wright (Periplum).

Private View Wednesday, 1st August, 7.00 – 9.00 pm

Presentations by

Helen Ottaway : Subathra Subramaniam
Brian Hartley : Flick Ferdinando

0131 560 1580
info@summerhall.co.uk

 

GLASGOW

The Briggait, Glasgow, G1 5HZ

Sura Medura

Fri 03 – Sat 25 Aug 2018

Artists:

Brian Hartley, Rob Mulholland

Private View Thursday, 2nd August, 5.30 – 7.30 pm

Presentations by

Helen Ottaway : Subathra Subramaniam
Brian Hartley : Flick Ferdinando

www.uzarts.com

www.suramedura.com

If you would like to attend one of the private views, contact info@uzarts.com mentioning my name.

Sri Lanka comes to Somerset

My first opportunity to share the work I created on the Sura Medura residency in Sri Lanka is coming up in March in my home county of Somerset.  Please do come and join us in the beautiful 15th century Bishop’s Barn in Wells.  Details below.

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Opening Doors

Bishop’s Barn, Silver Street, Wells, Somerset, BA5 1US 
Saturday 24th March 2018, 7.30 pm
          Doors Open 7.15 pm      Tickets £5 on the door             

This Spring the doors of the 15th century Bishop’s Barn in Wells, Somerset, will open for an intimate evening with two very special women.

Helen Ottaway and Melanie Thompson have been working across multiple arts disciplines all their professional lives.  They would like to share an evening with you where you will find yourself immersed in their stories from two residencies located in two very different parts of the world.

Through film, sound installation, demonstration and specially prepared talks, Melanie and Helen will take you through the fascinating process of creating original site-specific work in response to Sri Lanka and Denmark.

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Helen Ottaway – Six weeks, Hikkaduwa, sea sounds, drawing music on the beach and a magical musical box.  Helen was sponsored by Inside Out Dorset to take part in the Sura Medura  International Artists Residency in Sri Lanka.

Melanie Thompson

Melanie Thompson – Two years, Aarhus, two solo performances in one night and a film about drowning. Melanie was invited to collaborate with Reflektion Teatre, Denmark and its director, Bjarne Sandborg.

Ten years ago Melanie and Helen created Palace Intrusions, a two year public art project, for Wells. They are now returning with the intention of creating a new work for the city and its community.

This event is part of the Into the BARN project 2018.

For info on parking in Wells see: http://www.mendip.gov.uk/paydisplay

https://thebishopsbarn.wordpress.com/

https://helenottaway.bandcamp.com/

www.melaniethompson.me.uk

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