On 8 June, NMC Recordings and Rambert celebrated the release of Flux: new music. new dance with a joint debate centred around the question: 'What makes good music for dance?'. The album celebrates the innovative Rambert Music Fellow scheme, and features works by five previous Fellows, as well as the Rambert Orchestra and their Music Director, Paul Hoskins.
Dance critic Jenny Gilbert chaired an hour-long discussion for an intimate audience of 50, with a panel consisting of composer Mark Bowden, choreographers Patricia Okanwa and Will Tuckett, Rambert company pianist Yshani Perinpanayagam, and Paul Hoskins.
The lively and in-depth debate explored a number of key themes, including how to nurture good working relationships between composers and choreographers, the role organisations play in actively commissioning and performing new music, how both dancers and musicians are incorporated into the creative process, and even turning the question around to focus on what makes good dance for music.
The evening concluded with a thrilling performance of Tempus, choreographed for two dancers by Simone Damberg Würtz to an original score by Cheryl Frances-Hoad, for pianist and Commodore 64. Watch a short extract here.
Listen again to the debate to find out more about how contemporary music and dance interweave.
An excerpt from the full blog post '"I got gaps, you got gaps, we fill each other's gaps" which can be read on Rambert's website here.
During a recent Rambert run at London’s Sadler’s Wells, as I sat in the dressing room amidst empty instrument cases and opening-night chocolates, my eye was drawn to the monitor screen which broadcasts a view of the stage as a guide for those waiting to go on. The sound was turned down but as the minutes passed I became completely absorbed.
I had seen the particular piece a few times before as an audience member, but experiencing it in this way felt entirely new, and seemed to both open up and focus the way I saw it. Though the fact that the dancers were hearing the music as they danced felt important in their performance of the piece, the movements were free of the specifics of that music. And I liked that I couldn’t hear it. I felt I was experiencing the dance somehow on its own terms. I was immediately energised by thoughts of new kinds of audio score, of silent discos and ‘silent scores’, of dance pieces which stole the music from the audience, or which conveyed it only partially.
As well as this, I was struck anew by how very powerful music is in influencing the mood and structure of visual information, such that removing it changes so much. I remembered a participatory film workshop I’d run about musical soundtracking, where I’d replaced the original soundtrack to a film clip with various other types of music and sound. Some of the replacement soundtracks felt natural, providing a conventional kind of emotional cueing, others felt entirely disconnected and nonsensical, and others again felt they opened up new kinds of connection, were unexpected and intriguing.
Modern dance scores tend not, thankfully, to be as literal as the average mainstream Hollywood film score since the scope of the dance/music relationship is perhaps broader, and composers are perhaps less hamstrung into generating musical sound-a-likes. Contemporary dance music amounts to art music, so, in a way, anything goes, as long as it bears artistic integrity. It can express tension, resistance, perversity as well as story-telling and relationship, and much more besides. But nevertheless, there is something there to unpick, something about the way the two sit together, how and why they do, whether they fit and whether they work and how you perceive it when they don’t.
Read the rest on Rambert's website.
Date: Thursday 8 June 2017
Time: 18.30 - 20.45
Venue: Rambert Dance Company, 99 Upper Ground, London SE1 9PP
Tickets: £10, available via Rambert
Journalist Jenny Gilbert chairs a panel including Rambert’s Music Director Paul Hoskins, composer (and former Music Fellow) Mark Bowden, pianist Yshani Perinpanayagam and other guests to discuss what makes good music for dance and the role dance organisations play in commissioning new music.
The evening will also feature a performance of Tempus, choreographed by Simone Damberg Würtz and featuring an original score by former Rambert Music Fellow Cheryl Frances-Hoad, played live by Yshani on piano and Commodore 64.
The evening concludes with a drinks reception and a chance to continue the conversation with panel members and performers.
Friday 21 April sees the release of two albums on NMC featuring the award-winning baritone Roderick Williams: Brian Elias' Electra Mourns and Howard Skempton's The Rime of the Ancient Mariner. Also becoming increasingly well-known as a composer in addition to his work as a singer, Roderick generously took the time to answer a few questions for us, covering everything from composing, singing, poetry and more.
Explore more recordings in the NMC catalogue featuring Roderick Williams, including albums by Hugh Woods, Robert Saxton and Richard Rodney Bennett.
As a singer, performing and interpreting a wide range of texts, how do you balance your own personal interpretation of the text with what the composer has written?
On occasions the way I read a poem and the way a composer has chosen to set a text don’t match; it’s sometimes a difference of emphasis, sometimes to do with layers of subtext. Then I have a simple choice; to stay true to the composer’s vision, as far as I understand it, or impose my own reading on top. Bearing in mind that a composer is already adding a layer on top of the poet’s original, I don’t always feel too bad in adding some of my own thoughts and responses into the mix. Often this can be as simple as simple as giving extra stress to a word, say on an upbeat, which the composer has chosen to down-play. But in the end, I do wish to stay as true as I can to the spirit of the composition otherwise I might just as well leave the song alone and write my own. So the balance is a fine one and that is, I suppose, what we mean by interpretation. I trust my instincts both as performer and composer to see the choices from both sides and opt for something that works.
Versatility as a performer is one of your key strengths. How important do you think it is for performers to engage with contemporary music and do recordings of new music play a role in highlighting the repertoire?
I see that it is entirely possible for performers to make a tremendous career in music, certainly in singing, and avoid any contemporary repertoire completely. I don’t think this affects their legitimacy as artists at all. My own career happens to have encompassed a lot of new music partly because I write some myself and partly because I must have earned a reputation early on as a singer who was not intimidated or overwhelmed by its demands. Once you say yes to one project and make a decent job of it, more are offered to you. I would have been sorry to have ended up singing this repertoire to the exclusion of all else and I’m glad that circumstances never forced me to make such a choice. I count myself lucky to have been offered work in a variety of classical genres from early music right through to contemporary.
If the question is less about practicalities and more about ideology, then clearly someone has to champion new music performance and recording or it will disappear from the concert hall and the studio. And I believe this to be important, not just because I compose and therefore have a vested interest in the promotion of new music, but because it is self-evident that music cannot stand still. If we venerate music of the past to the exclusion of all else, we create lifeless museums.
The recording industry has a huge part to play in this, especially with the global reach of the internet, as new music can reach target audiences wherever they are. New music, whether it be classical or pop, has never been more openly accessible and I think that is very exciting, even if it is a minefield for performing rights law.
Your choral piece Ave Verum Corpus Re-Imagined won a 2016 British Composer Award. How do you find time to compose around your busy performance schedule and what are you writing at the moment? Do you have any top picks from the NMC back catalogue that particularly inspire you?
A freelance career brings with it a lot of waiting, whether it be in hotel rooms, on trains, in airport lounges or wherever. When I am at home, time with my family is precious so I don’t often schedule time to write unless I have a deadline looming. But away from home I can put in the hours required to produce something solid. At the moment I have several pieces on the go, some new compositions and some orchestration too. I am working on settings of Ursula Vaughan Williams poems for the female trio Voices which premieres as the Three Choirs Festival in Worcester this summer.
My favourite NMC recording from the catalogue has to be the Songbook project which was so wonderful as a snapshot of contemporary vocal writing. I love the diversity of compositions, the sheer range of responses to quite a specific brief; three minutes of music for voice and whatever instrument. There are some real gems in that collection.
Many of the works you’ve recorded with NMC have been settings of poems, from authors spanning centuries and styles. Do you have a favourite poet or poem that you would love to set to music yourself, and if so for what voices/forces?
By now I have set a lot of my favourite poetry and poets; I keep coming back to E E Cummings, for example as he really tickled me when I first came across his work as a teenager. Likewise George Herbert. I’m finding Urusula Vaughan Williams’ poetry beautiful to set as she seems to write with a musician’s sensibilities in mind. I hugely enjoy Thomas Hardy’s poetry but I don’t imagine I have the skill to set him as deftly as Finzi did.
More often that not I take a commission and then try to find the text to fit the brief; that’s how I came to choose a selection of New England poets for my Choral Symphony, written for Schola Cantorum of Yale. The requirements of the commission dictated the source of the text.
Your route into becoming a classical singer is perhaps atypical, beginning professional training in your late twenties. Do you have any funny stories of unusual jobs you had prior to entering the singing world?
I used to be part of an a cappella boy band in the days before The X Factor, The Voice and so on. My brother-in-law and two other friends from choral scholar days at university joined forces to sing covers of pop songs, which we arranged for four voices. Our party piece was Queen’s Bohemian Rhapsody and we sang that on television in the Grand Finale of Bob Says Opportunity Knocks. The programme reached about 13 million viewers, in the days when families used to sit around the TV together and watch one of the handful of terrestrial channels. We could have been famous. But our careers went their separate ways and it was not to be.
If you had unlimited free time, is there a skill you’d like to learn or hobby you’d take up – musical or otherwise!
I would have loved to have been a dancer. I don’t understand classical ballet at all but I have enormous respect for those who practice it. The regime they subject themselves to is quite astonishing, totally alien to a singer and I marvel at their sense of discipline. But I would love to have been a confident dancer of any sort.
You’re stuck in a lift with three people of your choice (dead or alive)! Who are they and what do you sing to keep everyone entertained while you wait to be rescued?
The first is easy; J S Bach. I would just like to watch him work as we sit and wait for rescue. I would try to sing anything he put in front of me too.
Then, Martin Luther King; not for any political reason but because I feel my heart welling up with pride and my eyes with tears whenever I hear him recordings of him speaking. What extraordinary, electrifying charisma. If anyone could keep our spirits up in a lift, it would be him.
Finally, Monica Bellucci; does there have to be a reason? We wouldn’t even need to be rescued that quickly….
NEW ALBUM - 'A Celestial Map of the Sky' - OUT NOW!
Alyssa Aure - girl
Andrew Kwong - boy
Nate Skeen - co-director
Martin Roe - co-director, executive producer
Andrew Sachs - director of photography, producer
Katie Burris - producer
Amir Rakib - 1st AC
Ardy Fatehi - gaffer
Mike Simon - studio teacher
Michael Beaudry - casting director
Chelsea Lapka - hair/wardrobe
Hannah Carpenter - production assistant
Ayra Siddiq - production assistant
Celeste Diamos - editor
Arnold Ramm - colorist
'Fragments from Heart of Darkness' by Tarik O'Regan
Hallé Orchestra/Jamie Phillips
Producer Olugbenga Adelekan's How I learned to stop worrying and love, a remix of 3 Pieces for Violin and Piano by composer Kate Whitley, is released today. Olugbenga, best known as the bassist with Mercury-nominated electronic band Metronomy, talks us through how he produced his reworked version.
"I heard a great deal of optimism in ‘3 Pieces’ as well as a very stark beauty. I wanted to retain that whilst also creating a remix that stood very much as its own thing. It was only my second time remixing something with no vocal track or big melodic top line to hang things around. I had a lot of fun trying to get my head around that! I treated all the audio parts from Kate’s piece like a new sample library – I took some bits to create a piano pad and others to build a new string section. So the only sounds that came from elsewhere were the drums. The sun was shining through a little window into my studio while I was working on the remix and I think some of that light made its way into the music."
Born in Lagos to a Kenyan mother and Nigerian father, Olugbenga now resides by the sea in Brighton. He has travelled the world working as a bass player, vocalist and DJ, performing with groups such as Damon Albarn’s Africa Express, Paloma Faith and La Roux.
As well as touring with Metronomy, Olugbenga has lent his talents as a remixer to the likes of Laura Marling, Janelle Monae, Mew, Alt-J, Depeche Mode and the Scissor Sisters. He was flown out to New Orleans in 2016 to write music for Solange Knowles’ A Seat At The Table. His track Don’t You Wait (co-produced by Sampha, Kwes and Adam Bainbridge) garnered positive comments from fans and critics alike and the album flew to #1 on the Billboard Hot 200 off the back of 36 million streams in a single week.
Olugbenga's remix, How I learned to stop worrying and love, and Kate Whitley's album I am I say are both available now.
r:strng, NMC's new app which allows you to create your own version of Gbenga's remix, is coming soon.