One of our main goals is to help people from all walks of life to feel that contemporary classical music is a good and relevant thing in their lives. We believe that by experiencing the process of making music and telling stories through sound, people feel more of an affinity with composers and the work they produce. Community composition projects also fit in well with Vonnegut’s belief that everyone should ‘do art’, to find out what’s inside them, and make their soul grow!
Community Composition projects to date include NEAT Festival’s ‘A Day For Calais’; work in schools in Manchester, Camden, Alderley Edge, Giggleswick (part of a term-long project on Francesca Sanna’s ‘The Journey’), and elsewhere. We are also developing a strong relationship with Trafford’s Wellbeing Centres’ resident Seed Studios, leading two largescale compostion projects – ‘becoming’ and ‘Soundworlds’.
The use of lines and shapes to replace traditional notation is a great way to combine composition and improvisation, and to create a level playing field for music makers from all backgrounds and levels of expertise.
Many of the projects mentioned above have involved Graphic Scores in one way or another. In particular, ‘becoming’ with Seed Studios and ‘Sounds from the Sketchpad’ with Tullis Rennie, have delved deeply into these techniques.
Music and Movement
As orchestral and chamber musicians we’re all lucky enough to be surrounded, on a daily basis, by some of the most powerful and carefully crafted sounds from throughout history. But to do that we have to sit in our chairs for 5 or 6 hours a day. Having the chance to get up and move alongside dancers and actors whilst making our own shared music is a thrilling and freeing experience. It’s pretty exciting for the audience too.
Projects include ‘Soul’s Paths’, with Matrafisc Dance Co., The ‘Feral Project’ and ‘Northern Theatre Laboratory’ with Animikii Theatre, and ‘Manchester Contemporary Youth Opera’, ‘RITE’ with Ina Colizza and Shelley Owen’s ‘Speed Dating’.