LATEST NEWS | 2017

Composition & Craft

December 2017

World premiere of Tarab with Sheppard-Skaerved and Trandilovski

Peter Sheppard-Skaerved and Mihailo Trandilovski will give the premiere of Tarab for 2 violins on Friday 1 December (7.30pm) at The Forge on the Isle of Dogs in London. In Arabic music, tarab is both a form of composition and a related ‘concept of enchantment’ where the performer and listener are completely swept away by the experience of the music - both participate in the creation of tarab, a mutually experienced ecstasy. My musical work expresses tarab through both wild virtuosity and intense expressivity. It weaves together two ancient Arabic sources, the ancient Syrian Hymn to Nikkal reputed to be the oldest notated song in the world dating from c. 1400 BCE, and لما بدا يتثنى (Lamma bada yatathana: When she begins to sway) which was written sometime in the 9th-10th centuries ACE. The lyrics of both songs celebrate women - the Hymn praises Nikkal, the Semitic goddess of fertility and orchards, and لما بدا يتثنى compares the beauty of a lover to the swaying branches of a tree. The Hymn is heard at the centre of the work, a transformed version that brings out the unusually diatonic and expressive harmony of the music (most probably played on a lyre or sammûm). By contrast, the melody of Lamma bada yatathana is highly rhythmic, with its 10/8 metre (samai thaqil) punctuated by the accompanying viola as drum, emphasising the ‘doom’ on beats 1, 6 and 7 and the ‘tek’ on beats 4 and 8. The work ends with increasingly virtuosic counterpoint, the melody thrown between the two instruments with abandon!

The Silver Stars at PlayKantos Chamber Choir

December 2017

As-salāmu ʿalaykum Bethlehem released on Prima Facie

www.kantoschamberchoir.com

ascrecords.com/primafacie

twitter.com/kantoschoir?lang=en

Prima Facie will be releasing As-salāmu ʿalaykum Bethlehem for 8-part choir on a new CD of contemporary Christmas carols The Silver Stars at Play on 16 December during a launch concert given by KANTOS conducted by Ellie Slorach (St. Ann’s Church, Manchester, 7pm). The work is dedicated with much affection and thanks to Mark Hewitt, composer and producer of the disc. As-salāmu ʿalaykum Bethlehem combines selected words from O Little Town of Bethlehem (written by Phillips Brooks after his visit to the town in 1895) with the Islamic greeting meaning ‘Peace be unto you’. At a time when Bethlehem is beset with troubles, this optimistic carol brings together the two traditions in a spirit of solidarity - ‘Peace be unto you O little town of Bethlehem!’

Everlasting light!
O morning stars proclaim
A wondrous gift!
The holy birth!

As-salāmu ʿalaykum Bethlehem

Everlasting light!
O morning stars proclaim!
Everlasting light
Proclaims the holy town,
Salaam O little town of Bethlehem!

Ian Mitchell Aleksander Szram Devine Art Recordings Group

November 2017

Ian Mitchell and Aleksander Szram perform Owl of the Hazels at Benslow

www.benslowmusic.org/?PageID=1846

divineartrecords.com/new-metier-album-to-focus-on-bass-clarinet

I have been indebted to Ian for over 30 years of support. As a soloist and conductor of Gemini he performed and workshopped my early attempts at writing music with a perceptive enthusiasm that encouraged and taught me so much. So, it is absolutely fantastic that he, together with the fabulous pianist Aleksander Szram are now performing my Owl of the Hazels at Benslow on 25 November in preparation for recording the work in December as part of a celebration of contemporary bass clarinet repertoire to be released by Divine Art/Metier next year. THANK YOU IAN!

Divine Art/Metier: ‘Leading British clarinettist Ian Mitchell is to record a program of music for bass clarinet for Métier Records, the new-music arm of Divine Art. The purpose of the album will be to demonstrate that the bass clarinet is not just an optional orchestral instrument but is effective in chamber music for small ensembles. Joined by his long-established and renowned group Gemini, Mitchell will present an album containing many new works some of which have been commissioned by Mitchell and Gemini. The recording sessions are to take place, with Métier Productions producer/engineer David Lefeber, during the autumn for release in mid-2018. Other soloists taking part are soprano Alison Wells and pianist Aleksander Szram.’

Duncan Honeybourne

November 2017

Duncan Honeybourne performs Lunae at St. James’ Piccadilly

www.concert-diary.com/concert/1126137877/Duncan-Honeybourne-piano-plays-EJ-Moeran-and-Schumann

www.sjp.org.uk/lunchtime-recitals.html

I am very pleased indeed that Duncan has chosen to perform Nocturne II: Lachrymae from my cycle Lunae: Four Nocturnes as part of his birthday celebrations at St. James’, Piccadilly on 6 November at 1.10pm. Lachrymae is based closely on John Dowland’s Lachrymae Pavan for lute. Written as an ‘In Memorium’, the piece is slow and melancholy, being prefaced by a quote from Lithuanian poet Valdas Daskevicius: ‘Love is the silence in which I remember you and repeat you’. The theme is heard in many guises, representing the sadness of loss, the hope of a remembered dream and a sad reawakening. It is dedicated to Pamela Parr, an extraordinary epigraphist and adventuress who died in 2012.

The programme:
Stalham River - a ballade for piano - Ernest Moeran
Nocturne II from Lunae: 4 Nocturnes for solo piano - Sadie Harrison
Penllyn: a meditation on the Welsh hymn tune - Peter Reynolds
At Midnight - Andrew Downes
Fantasie in C Op 17 - Robert Schumann

Duncan Honeybourne has established a colourful and diverse career as a pianist and in music education since his debut as soloist at Symphony Hall, Birmingham and the National Concert Hall, Dublin, in 1998. Recital debuts included London, Paris and the Miry Concertzaal in Ghent, Belgium, during the international Gentsche Festspiele. His first solo recital disc was described by Gramophone magazine as “not to be missed by all lovers of English music”, whilst BBC Music Magazine reported: “There are gorgeous things here. Hard to imagine better performances.”

Prima Facie

November 2017

Prima Facie release portrait CD Return of the Nightingales

http://ascrecords.com/primafacie

Press release: World premiere recordings
Return of the Nightingales: Music for Solo Piano (PFCD072)

Prima Facie Records is delighted to announce the release of Return of the Nightingales: Music for Solo Piano (PFCD072), featuring eight world premiere recordings of solo piano works by Sadie Harrison, composed between 2012 and 2017. The CD will be released on 17 November 2017.

Return of the Nightingales is a celebration of four pianists with whom Sadie has collaborated extensively over the past decade - Philippa Harrison, Duncan Honeybourne, Ian Pace and Renée Reznek. As the majority of the pieces were premiered by these pianists, the disc is a showcase not just of Sadie’s music but also of each performer - from the hyper-virtuosity of Ian Pace in the title work, to the quirky vivacity of Philippa Harrison in Four Jazz Portraits (2014); and from Renée Reznek’s highly coloured interpretation of Par-feshani-ye ‘eshq (2013-14) to Duncan Honeybourne’s sumptuously expressive renditions of Lunae (2012) and Shadows (2013). As such, the disc offers a unique insight into a range of contemporary piano performances, an unusual contribution where the emphasis is as much on the players as the composer herself.

Sadie Harrison’s piano works are performed and broadcast all over the world, and are part of the core repertoire of many international pianists. Her music is joyfully multi-referential, acknowledging Bartók, Berg, Chopin, Debussy and jazz greats such as Evans, Waller and Monk. Sadie’s passion for the cultures of Persia and Afghanistan has also found expression in works which weave traditional folk music into starkly modernist pieces, finding new means to celebrate the diversity of musical languages across continents and centuries. The range of references in these works - boogie-woogie to 1920’s Hollywood film scores, machine-gun rattle to British folksongs, Methodist hymns to an Afghan singer’s chant - are threaded together by birdsong, which features in almost every work on the disc, an eternal music around which the pieces revolve.

Track listing: [1] Return of the Nightingales [2-7] Par-feshani-ye 'eshq: Six Pieces after Bidel [8-11] Lunae: Four Nocturnes [12-17] Shadows: Six Portraits of William Baines [18-21] Four Jazz Portraits [22] The Souls of Flowers [23] Northern Lights [24] Luna... for Nicola
Cover image: Birds of No Nation – Dreaming Graffiti © Shamsia Hassani (https://en.wikipedia.org/wiki/Shamsia_Hassani)

An extract from the introductory essay:

Just as its cover shows a piano mysteriously being placed on – or pulled out of? – a wall in a city ravaged by war, the music on this album emerges out of two silences: Sadie Harrison’s own, as a composer whose output a decade ago had slowed almost to a stop; and the larger silence, or silencing, which in the album’s title track becomes her subject – the prohibition on musical activity which was imposed by the Taliban government in Afghanistan in the late 1990s and early 2000s.

In the title track, the figure of the nightingale, familiar from classical Persian poetry, comes to stand for the return of music to Afghanistan in the nevertheless still troubled years after 2001, and the repeated appearance of nightingales throughout the works collected here – in the third of the four nocturnes collectively titled Lunae, in the evocation of Alabiev–Liszt’s ‘Le Rossignol’ as played by the early twentieth-century composer-pianist William Baines, and in the fluttering wings of the album’s other ‘Persian’ piece, Par-feshani-ye ‘eshq – suggests that Harrison may have come to imagine her own new fecundity of invention as itself the removal of an unfreedom.

A creative pause – even if it stems from a feeling of exhaustion, of having nothing left to say – may ultimately reveal itself as the prelude to a glorious new eloquence, just as sleep is not final but attains a natural (if also temporary) end as night gives way to dawn. As the Afghan example shows, too, a state of outward silence does not necessarily reflect the inner absence of the expressive impulse. The desire to express, its usual means thwarted, may seek new outlets. ‘When it got impossible to do graffiti on the walls of Kabul,’ writes the street artist Shamsia Hassani, whose artwork Dreaming Graffiti provides that striking cover image, ‘I started taking photos of my favourite city walls and would paint my works on the photos.’ Harrison herself re-trained and worked as an archaeologist between 2006 and 2012, and there is a relevant comparison with Bartók’s silences of 1912–15 and 1941–2, periods in which he almost certainly believed he had given up professional composition for good in favour of ethnological work collecting and cataloguing folk music, but which we retrospectively interpret as interludes or ‘research’ for further creative work.

(Harrison’s affinity with Bartók runs deep, incidentally, and it is a particularly pleasing coincidence that two of the performers featured on this recording are grandpupils of Bartók, via his piano student György Sándor, while all four can trace a pedagogical lineage back – in two cases via Bartók, in the other two via Edwin Fischer – to Liszt.)

[…]

This album is the record of an awakening, but it also tells a story about learning to sleep well. The last of the three miniatures with which it ends – each perfectly matched to the specific musicality of its dedicatee – is marked by its resumption of the Luna title as another night-piece. It is peaceful but open-ended, non-final like sleep, and as it comes to rest we might call to mind the closing lines of John Fuller’s text for The Crimson Bird, the vocal–orchestral scena by Harrison’s teacher Nicola LeFanu to which this closing piece pays homage:

When the night will in the end give way
To the dawning reason of the day.

As the album ends, the world continues on. And we are in it – and, thanks to Sadie Harrison, a little more of it.

© 2017 John Fallas

New scores

Autumn 2017

UYMP publishes new scores

1. www.uymp.co.uk/composers/sadie-harrison/works/the-murder
2. www.uymp.co.uk/composers/sadie-harrison/works/mimih
3. www.uymp.co.uk/composers/sadie-harrison/works/allah-hu
4. www.uymp.co.uk/composers/sadie-harrison/works/the-oldest-song-in-the-world
5. www.uymp.co.uk/composers/sadie-harrison/works/as-salmu-alaykum-bethlehem
6. www.uymp.co.uk/composers/sadie-harrison/works/hallristningsomradet

1. The Murder for clarinet, cello/voice and marimba/voice Premiere: Harriet Riley, Andy Keenan, Richard Phillips - Royal West of England Academy, 22 January 2017

2. Mimih for flute, violin, cello, piano, clapsticks Premiere: Ensemble Bei Wu, Künstler Bei Wu Sculpture Park, Wesenberg, 24th June 2017

3. Allah hu (from Dast be dast) for solo viola Recorded by Kevin Bishop for Toccata Classics (TOCC0342) on The Rosegarden of Light 2016

4. The Oldest Song in the World for two violas Premiere: Kevin Bishop, Steve Larson, St. Mark’s Church, Glastonbury, USA, 16 February 2018

5. As-salāmu ʿalaykum Bethlehem for eight voices
Premiere: Kantos (cond: Ellie Slorach), St. Ann’s Church, Manchester, 16 December 2017, recorded on Prima Facie (The Silver Stars at Play)

6. Hällristningsområdet (Rock Carvings) for solo double bass
Recorded for Prima Facie (PFCD071) by Dan Styffe 2016

Aurea Luce 2017 recording premiere

October 2017

Aurea Luce broadcast on The Violin Channel & Youtube

https://theviolinchannel.com/category/videos/vc-new-music-tuesday
www.rcm.ac.uk/events/listings/details/?id=1099670
www.youtube.com/watch?v=vICXanXDpZA

Madeleine Mitchell and Nigel Clayton are performing Aurea Luce on The Violin Channel on Tuesday 3 October 2017. Thank you so much to these two wonderful performers for choosing the piece as the representative work for the new Divine Art CD: Violin Muse which is being released at the Royal College of Music on 25 October in the Britten Theatre between 2-4pm. Please see earlier news items for further information.

 

Jenny Duck-Chong Bernadette Harvey

October 2017

Australian premiere of ‘with what do winter’s summers sing?’

http://music.sydney.edu.au/events/chamber-works-ate-the-stars-10-10-17
https://www.bernadetteharvey.com
http://jennydc.com

I am absolutely delighted that mezzo-soprano Jenny Duck-Chong and pianist Bernadette Harvey are giving the Australian premiere of my substantial song cycle ‘with what do winter’s summers sing?’ at Recital Hall West, Sydney Conservatorium of Music on Tuesday 10 October 2017 at 6:30pm in a programme entitled The Fire In Which We Burn. Jenny and Bernadette are amongst the most acclaimed musicians in the country and it is a real privilege that they will be performing the work. The cycle was the Winner of the Edvard Grieg Memorial International Competition for Composers 2005 and received its world premiere by Mari Eriksmoen (voice) and Sebastian Wemmerlov (piano) at the Oslo National Museum, Norway, 31st July 2005.

Madeleine Mitchell - Violin Muse

October 2017

Divine Art / Metier CD Launch with Aurea Luce

https://divineartrecords.com/upcoming-release/madeleine-mitchell-violin-muse

Madeleine’s new disc entitled Violin Muse will be released on Divine Art / Metier on 20 October 2017. All the works were written for and have been premiered by Madeleine and I am thrilled that she has included Aurea Luce for violin and piano which she premiered with Geoff Poole in September 2015. The programme note reads:

Aurea Luce was written at the request of Madeleine Mitchell by way of celebrating my 50th birthday at a concert in my home town of Shaftesbury, Dorset. The work is based on a plainsong melody sung as a hymn for the Feast of St. Peterʼs Chair in Rome, reflecting the dedication of the church in which the premiere took place. I started writing the work on International Womenʼs Day 2015 and it was serendipitous that the hymnʼs text is ascribed to a 5th century female author, Elpis (reputedly the first wife of the philosopher Boethius). The title translates asʻ..with golden light..ʼ and in context within the verse it reads as:

Aurea luce et decore roseo, lux lucis, omne perfudisti seculum, decoran caelos inclito martyrio hac sacra die, quae dat reis veniam. (The Poissy Antiphonal, fol. 412v)

(The beauteous light of Eternity hath flooded with blissful fires this golden day which crowns the Prince of the Apostles, and gives unto the guilty a free way to heaven).

The piece states the plainsong clearly at the beginning, with a gradual accumulation of bells (constructed from patterns taken from St. Peterʼs Church bell changes) making conscious reference to the tintinabulation style of Arvo Pärt. It also hints at James Macmillanʼs Kiss on Wood which was written especially for Madeleine and which has become one of her ʻcalling cardsʼ. The work was premiered on 19 September 2015 at St. Peterʼs Church, Shaftesbury by the dedicatees, Madeleine and Geoff.

Madeleine Mitchell violin
BBCNOW, Edwin Outwater
Nigel Clayton piano
+with Cerys Jones violin

* Sadie Harrison Aurea Luce
+Judith Weir Atlantic Drift
*Geoffrey Poole Rhapsody
*Michael Nyman Taking it as Read
*David Matthews Romanza
Michael Berkeley Veilleuse
*Guto Puw Violin Concerto

Daisy Booth

September 2017

Rainbow’s End premiered in Shaftesbury by Daisy Booth

Not every day that your music gets played by a princess's Lady-in-Waiting! Thank you to Miss Daisy Booth who performed my little Rainbow's End that I wrote for her earlier this year (and by memory). Daisy played the piece as part of her Shaftesbury Carnival Royal Entourage duties in the town's local hospital and care homes. Thank you Daisy!

King of Kabura

September 2017

The Rosegarden of Light on film soundtrack of King of Kabura

www.facebook.com/TheKingOfKabura

I am incredibly pleased that several tracks from The Rosegarden of Light CD (Toccata Classics) have been used as part of the soundtrack for a collaborative film project in Afghanistan and the USA (Taj Cinema Studio, LLC). The movie is a fictional drama that takes place in ancient Ariana with the majority of actors comprised of young volunteer Afghans in the Washington DC area. The main aim of the project has been to get the youth involved in theatre and to introduce them to Afghanistan's ancient past. Much of the music has been composed by Afghanistan’s Jamal Masumi with the addition of the Rosegarden’s Interludes (performed by the young ladies of Ensemble Zohra from the Afghanistan National Institute of Music supported by members of Cuatro Puntos, Kevin Bishop and Holly Fischer).

The first screening of the film took place on 29 September 2017 at the Ernst Community Cultural Centre in Annandale, Virginia, USA.

Film synopsis:
Have you ever wondered about life in ancient Afghanistan? This is a tale that takes place in the Saka kingdom, in the 1st century BCE. This was during the time when the now world famous golden Bactrian treasures were created. It is a story of the importance of family bonds over revenge and treason. King Azes I ruled in Arachosia (Kandahar today) and Kabura (present day Kabul). The second most powerful man in the king’s court, Ka’us, skilfully plots against the king convincing the king’s younger son that his older brother is a murderer. A cruel war breaks out between the brothers, until their mother Queen Verona, named after the goddess of light, tries one last intervention.

My Art is Female

September 2017

The Rosegarden of Light at Woman XXI International Conference in Portugal

www.facebook.com/WOMANXXIpt/?fref=mentions&pnref=story

Many thanks to Penny Brandt (Connecticut University) and her translator Miguel Campinho for including excerpts from Gulistan-e Nur (The Rosegarden of Light) as part of her conference paper Harmonic Transgressions: Transnational Activism by Women Composers given at the Woman XXI International Conference in Porto, Portugal on 29 September 2017. The lecture also included discussion of work by Tawnie Olson, Niloufar Nourbakhsh and نیلوفر نوربخش.

Synopsis: In this presentation, I discuss the musical works of three living women composers whose works are a form of activism against oppression. Sadie Harrison is an Australia-born composer living in the UK whose research into gender and musical practice in Afghanistan led to her creation of "Gulistan-e Nur: The Rosegarden of Light" in collaboration with a women’s ensemble at the Afghanistan National Institute of Music. Niloufar Nourbakhsh is an Iranian composer living in the United States who composed "An Aria for the Executive Order" in response to the Executive Order passed by the President of the United States that bans residents from predominantly Muslim countries from entering the USA. Tawnie Olson is a Canadian composer living in the United States. Her "No Capacity to Consent" questions police brutality and overreach in the United States. Each of these composers has assumed a certain amount of artistic and professional risk to call attention to the plight of marginalized people in countries where they are not citizens. I will describe the music, including sample recordings from performances of each piece, and also discuss the importance of transnational activism in classical art music of the twenty-first century.

Madeleine Mitchell Bangor University

September 2017

Aurea Luce at ‘Women’s Work in Music’ Conference

Madeleine Mitchell and Konstantin Lapshin will be giving a performance of Aurea Luce for violin and piano at Bangor University’s First International Conference on Women’s Work in Music on 7 September 2017. The work will be in a programme including the premiere of Grace Williams Violin Sonata (1930) Judith Weir’s violin duos and Rebecca Clarke's Nocturne for 2 violins & piano.

The School of Music at Bangor University is pleased to host the First International Conference on Women’s Work in Music. The Conference has been timed to mark the 40th anniversary of the death of the Welsh composer Grace Williams (1906-77). The Conference will bring together academics, researchers and music professionals from around the world to share their research and experience of all aspects of women working in music. The Conference will seek to both celebrate the achievements of women musicians, and to critically explore and discuss the changing contexts of women’s work in music on the international stage. Following a fantastic response to our call to papers, the diversity and richness of this work will be illustrated at the Conference through presentations in areas such as historical musicology, music education, ethnomusicology, practice-led research and performance, composition, music analysis, popular music studies and much more.

Madeleine’s introduction to the event can be found on Wynne Evans BBC Radio Wales Show:
http://www.bbc.co.uk/programmes/b092qh21

Bei Wu Wesenberg

August 2017

Second visit to Bei Wu Wesenberg as Composer-in-Residence

It was great to be back in Wesenberg from 13-16 August for my second visit as Composer-in-Residence to the Kunstler Bei Wu, a post supported so generously by a Composers’ Fund award from PRSF and an Arts Council England/British Council Artist’s International Development grant. I was able to work on my new piece Sehnsucht for multi-tracked violins and voices as a response to Mig Dann’s sculpture of the same name - 3 boats which float in the trees of the sculpture park.

Mig writes: It is a site-responsive work in that I'm referencing the time when the property was used to house children; first during WWII when the children of high-ranking nazis were evacuated here once the bombing of Berlin started, and then after the war when the Russians annexed East Germany. It goes without saying that there were many orphans after the war but I learned anecdotally that there was a much darker history. Under the DDR babies and children were taken from political dissidents without consent. Many of these children were adopted out, again without the parents' knowledge or consent. So the boats could be overscaled bath toys, or a fantasy of escape (transition/transformation) or even messing about in the lake -- both
light and dark.

The visit also consisted of rehearsals with Baroque violinist Kerstin Linder-Dewan, discussing ‘Baroque’ interpretations of 3 solo works initially written for Peter Sheppard-Skaerved: Sheppard’s Meadow, Scheherazade and Sarabande/Double-Walk in a Graveyard in preparation for a concert on 13 August and also as aural sketch materials for a forthcoming violin concerto for Kerstin and Concerto Brandenburg Berlin.

The trip ended with a fabulous concert and workshop (filmed by Phil Cairney) which included a virtuoso performance from guest artist Silvan Guignard, accompanying himself in a extended narrative for voice and Japanese biwa, the solo pieces above and extracts from mimih, my first commission from Bei Wu for the Inauguration of the Australian Indigenous Art Gallery earlier this year and performed by Kerstin, Beni Araki and myself. The event ended with an illustrated lecture exploring the links between traditional Japanese biwa music, Australian Aboriginal music and high Baroque German music!

ABRSM logo

August 2017

Three Jennys on ABRSM Syllabus 2018-21

http://shop.abrsm.org/shop/syllabus/ABRSM-Oboe-2018-2021-Grade-7/12406/326/7
http://shop.abrsm.org/shop/syllabus/ABRSM-Oboe-2018-2021-Grade-6/12406/326/6

UYMP is very pleased to announce that movements from Three Jennys for solo oboe have been chosen by ABRSM as Grade 6 and 7 Oboe examination pieces.

Jenny Wren is now part of the Grade 7 Syllabus and Creeping Jenny and Spinning Jenny are on the Grade 6 List. Three Jennys was written especially for Jenny Porcas who gave the work its first performance on 7 June 2014 at the Purbeck Arts Week Festival in St. Mary's Church, Swanage.

The programme note reads: The three miniature movements are entitled Spinning Jenny (based on the Lancashire folksong 'Poverty Knock' associated with the textile industry of the nineteenth century), Creeping Jenny (Lysimachia nummelaria) which twists and turns like the plant itself, and Jenny Wren heard here in virtuoso voice. Three Jennys is dedicated to Jenny with affection.’

Kate Ledger

August 2017

Kate Ledger premieres Hidden Ceremonies at Late Music York

http://www.latemusic.org/event/peyee-chen-soprano-and-kate-ledger-piano/
http://www.lutins.co.uk/kate/Welcome.html

Kate will be premiering Hidden Ceremonies on August 5 at 7.30pm as part of Late Music York. She will be sharing the programme with soprano Peyee Chen in works by Gavin Bryars, Christopher Fox, Roger Marsh, Jennifer Walshe, David Lancaster and Hayley Jenkins.

Kate is a pianist specialising in the performance of contemporary and experimental music. She studied with Philip Thomas and Ian Pace through the University of Huddersfield and is currently based in York where she teaches at both St. John’s and York Universities. She plays with the Manchester-based new music ensemble Distractfold, who were awarded the prestigious Kranichstein music prize for Interpretation at Darmstadt International School for New Music 2014. She has played internationally at various festivals and events for the past 8 years, and has featured at the Huddersfield Contemporary Music Festival both as a soloist and as part of the new music ensemble plus/minus in 2008, who were aired live on BBC Radio 3.

Hidden Ceremonies was recorded by Roderick Chadwick for Toccata Classics (TOCC0304):
Hidden Ceremonies, for piano, explores prehistory as depicted through paintings by Brian Graham. Musical echoes, from Vaughan Williams to Stravinsky to Afghanistan and beyond, are woven into Harrison’s works, each glittering in their intensity. (The Guardian)

Hidden Ceremonies I piece is subtitled, “nine fragments after paintings by Brian Graham” and is a 2013 work for solo piano lasting around 11 minutes. One of Graham’s inspirations is archaeology. Harrison calls the fragments, “quiet contemplations of the scarred landscape and the conjurings of dark spells and ancient ritual acts.” The stasis, the gestures that seem to work from bass up all speak of an ancient, buried past ripe for reworkings; all this while reflecting the energy of Graham’s paintings. (Fanfare)

Hidden Ceremonies ‘fragments’ in sound the huge canvasses of contemporary artist Brian Graham in nine arresting movements for solo piano. (BBC Music Magazine)

Diana Mathews

September 2017

Diana Mathews performs Allah hu! at St. John’s, Wimbledon

www.diana-mathews.co.uk
 
The fabulous viola player Diana Mathews will be giving a performance of Allah Hu! from Dast be Dast! for solo viola at St. John’s Church, Wimbledon on 21 September at 1pm in a programme also including:

• Bach Sonata BWV 1001
• Tigran Mansurian ‘Ode an den Lotus’
• Garth Knox ‘Fuga Libre’

Allah hu is the central movement of a work entitled Dast be Dast (Hand to hand in friendship) which was commissioned by the American ensemble Cuatro Puntos for their violist Kevin Bishop, and for Samim Zafar, a student rubab player at the Afghanistan National Institute of Music in Kabul. Dast be Dast celebrates the diversity of Afghan and Western music-making, with both instruments exploring improvisation alongside notation, controlled imitation with spontaneous elaboration, and Western tonality within Afghan scales. The complete work was premiered by the dedicatees, Kevin and Samim on 23 June 2014 (joined by tabla player Madhurjya Barthakur) at the French Cultural Centre in Kabul. Allah hu is a meditative movement for solo viola, based on a specific interpretation of the traditional melody sung as a lullaby by Veronica Doubleday in 2004. The work was recorded by the dedicatee Kevin Bishop for Toccata Classics (TOCC0342) on the album The Rosegarden of Light.

Bingham Quartet

September 2017

Bingham Quartet give world premiere of Geda’s Weavings at Late Music York

www.latemusic.org/event/bingham-string-quartet
www.binghamquartet.net

The Bingham Quartet will be giving the world premiere of Geda’s Weavings on 2 September as part of their Late Music York programme celebrating the 70th birthday of Nicola Lefanu. As the title suggests, Geda’s Weavings draws together strands and threads - musical ideas (taken from the other five works that comprise my Lithuanian ‘project’) and poetic ones from Sigitis Geda. Although the work runs without a break it is in three movements entitled The First, Second and Third Weaving. The first is inspired by Geda’s dark and aggressive Traces of the Toad Cult Found Alongside Veprynas Lake, the second by the intensely moving Poem for Arvydas, the Field of Love. and the third by The Collective Request of the Dead Country Children of Pateru Village which I have depicted as a collage of musical games. The three movements rework materials from earlier works weaving together kaleidoscopic colours and memories in homage to a most wonderful country. Geda’s Weavings was recorded by the Mataityte Quartet in the Philharmonie Hall, Vilnius on 21 February 2005 for An Unexpected Light (NMC).

‘The Bingham String Quartet has gained an international reputation for its interpretation of the classical repertoire and fresh and exciting approach to new music. It has toured extensively in the United Kingdom and also performed in Europe, Australia, and the Middle East. Regular appearances in London include concerts at the Purcell Room and St Martin in the Fields. The quartet has performed and recorded with many other notable musicians including clarinettist David Campbell, pianist Nigel Clayton and cellist Raphael Wallfisch. The Quartet’s education activities have included several residencies, a busy programme of visits to schools and music centres, and a variety of coaching courses. Amongst the Bingham String Quartet’s notable recordings are the middle period quartets of Elizabeth Maconchy, two CDs of the quartet’s own commissions from young British composers and a musical version of Dickens’ “A Christmas Carol” by Richard Allain, narrated by Richard Stilgoe. Several other albums are also available which include works by Shostakovich, Barber, Haydn and more.’ www.binghamquartet.net

Karen Whimhurst

July 2017

Karen Wimhurst at Shaftesbury Fringe Festival

www.karenwimhurst.co.uk

The fantastic composer-clarinettist Karen Wimhurst will be performing two solo movements from my clarinet and piano work 9 Breaths on 1 July at 7.30 in St. Peter’s Church, Shaftesbury as part of the Shaftesbury Fringe Festival. Karen and I live in the same Dorset town and it is absolutely brilliant that she’s taken these little pieces on as part of a programme including Karl Jenkin’s The Armed Man. Shaftesbury has got a thriving artistic community, not least because of Karen’s passion for local music and musicians.

Sadie Harrison supported by the PRS Foundation's Composers' Fund

June 2017 

The PRSF Composers’ Fund award for Bei Wu Residency, Berlin 

www.rhinegold.co.uk/classical_music/prs-foundation-announces-composers-fund-grantees
www.prsformusicfoundation.com/2017/07/14/announcing-10-new-composers-fund-grantees
www.kuenstlerbeiwu.com
neu.concerto-brandenburg.de

Sadie Harrison is supported by PRS Foundation’s Composers’ Fund, a new opportunity for classical composers with a strong track record, supported by the Esmée Fairbairn Foundation 

I am extremely pleased to announce that my work at the Kunstler Bei Wu Sculpture Park in Wessenburg Germany has been generously supported by a grant from The Composers’ Fund from the Performing Rights Society Foundation. The Fund will support my work as the Park’s first Composer-in-Residence, a post evolving over two years within a vibrant, pioneering gallery-studio environment. Located in the marshlands of Wessenberg, the Park’s focus is on German and Australian sculpture with concerts exploring the relationships between music, artworks and landscape. I will be writing new works for the Bei Wu Ensemble- in-Residence, Concerto Brandenburg, including a piece for the Inauguration of the Indigenous Australian Art Gallery on 24 June 2017 in collaboration with the German and Australian Ministries of Culture and Australia Now! Festival. Other works include a violin concerto for Baroque instruments and the soloist Kerstin Linder- Dewan, a set of chamber pieces in the style of Weimar Cabaret music and an extensive set of solo works to be performed outside amongst the sculptures, including a collaborative project with the Australian artist Migg Dann. The Residency has also been supported by an Arts Council England British Council International Development Grant. 

Kanton Chamber Choir Scores

June 2017

As-salāmu ʿalaykum Bethlehem recording for Prima Facie

www.uymp.co.uk/composers/sadie-harrison/works/as-salmu-alaykum-bethlehem

As-salāmu ʿalaykum Bethlehem combines selected words from O Little Town of Bethlehem (written by Phillips Brooks after his visit to the town in 1895) with the Islamic greeting meaning ‘Peace be unto you’. At a time when Bethlehem is beset with troubles, this optimistic carol brings together the two traditions in a spirit of solidarity - ‘Peace be unto you O little town of Bethlehem!’

The young Manchester-based choir KANTOS (directed by Elspeth Slorach) will be recording the work for a Prima Facie disc ‘The Silver Stars At Play’ (producer: Mark Hewitt). The disc is a collection of contemporary Christmas carols (including unrecorded works by  Matthew Coleridge, Huw Morgan, Andrew Toovey, Mark Hewitt,   Andrew Mayes, Andrew Cusworth, Peter Parshall, David Fawcett, Paul Ayres, Phillip Cooke, Simon Cummings, Frederick Frahm, Sarah Rimkus, Cheryl Francis-Hoad, Cheryl Cam, Peter Maxwell Davies, John McCabe, Colin Hand, Douglas Steele, John Turner.

The Staging Post

June 2017

Gulistan-e Nur featured on Australian documentary soundtrack

www.lightsoundartfilm.com/#/the-staging-post
www.uymp.co.uk/news/sadie-harrison-to-feature-in-australian-documentary

On 17 June 2017 the feature length documentary THE STAGING POST (Light Sound Art Film) will be premiered in Sydney with a further screening in Melbourne on 18 June and in Brisbane on 23 June. I am thrilled that excerpts from The Rosegarden of Light CD (Toccata Classics) are being used as part of the soundtrack. The tracks - Bahar nastaran-e bihag (Radio Piece) and Watan Jan (Dear Homeland) are arrangements of a popular Afghan song and dance and are performed by the young ladies of  Ensemble Zohra from the Afghanistan National Institute of Music, conducted by Camilo Jauregui.
Director, Jolyon Hoff: 'The Staging Post follows Muzafar and Khadim, two Afghan refugees, stuck in Indonesia after Australia 'stopped the boats'. Facing many years in limbo they created a community, started a refugee education revolution and changed UN refugee policy. A film about friendship, connection and the power of community.'

The Rosegarden of Light CD featuring Ensemble Zohra alongside US ensemble Cuatro Puntos and solo viola/arranger Kevin Bishop has received much critical acclaim, recently being named as one of Naxos’ top 12 recordings of 2016.

Katherine Clarke

June & July 2017

Katherine Clarke performs Three Dances for Diana Nemorensis in three London venues

www.katherineclarkeviola.co.uk

Katherine performed this virtuosos solo viola work as part of her Final Masters Recital, Guildhall School of Music and Drama at the Milton Court Concert Hall on 6 June 2017. It is a real privilege to have the work played at such an important event. Katherine had already performed the work at Charlton House, London on 2 June.
She gives a repeat performance in St. James, Piccadilly on 7 July at 1.15pm.

Katherine began to play the violin at the age of six, but switched to the more mellow timbre of the viola when she was fourteen. She graduated in 2015 from the Royal College of Music, where she studied for four years with Jonathan Barritt. She is now studying for her Masters in Performance at the Guildhall School of Music and Drama with Matthew Jones, generously supported by a scholarship from The Goldsmiths' Company.

As a dedicated orchestral player Katherine has often been principal of the RCM Philharmonic Orchestra and has performed regularly in the RCM Symphony and Chamber Orchestras. During her Masters she has already performed with the Guildhall Symphony Orchestra at the Barbican on multiple occasions and has also performed in Milton Court Concert Hall with the Guildhall String Ensemble. During her final year at the Royal College of Music Katherine took part in the ENO Evolve scheme, which gave her the chance to shadow her mentor, participate in rehearsals and take part in an orchestral masterclass given by five members of the ENO.

Katherine is a keen chamber musician and has performed with various ensembles at LSO St. Luke’s, the National Gallery and the British Museum, as well as recorded at Abbey Road Studios. Last year she took part in the Edinburgh Quartet Apprentice Competition and in 2015 she reached the finals of the British Harp Chamber Music Competition with the Orion Trio. As a soloist, Katherine is interested in exploring contemporary viola repertoire and is a member of the contemporary music ensemble Echoshed. She has taken part in masterclasses with many of the top performers, including Maxim Rysanov, Ettore Causa and Roger Chase, and was awarded a bronze medal at the North London Festival of Music, Drama and Dance Viola Competition 2016 (taken from Katherine’s website).

Mimih Kunstler Bei Wu

June 2017

Premiere of mimih at Kunstler Bei Wu Sculpture Park, Wessenberg

www.kuenstlerbeiwu.com
www.uymp.co.uk/news/sadie-harrison-composer-in-residence-at-sculpture-park-wesenberg

Aboriginal people in the rocky environments of western and south-western Arnhem Land relate stories of spirits which they call mimih. The Mimih taught the first people how to survive on the Arnhem Land plateau and also instructed them in dance, song and art. Mimih are still depicted in a popular form of wooden sculpture thought to be an adaptation of artefacts used in ancient mortuary ceremonies. The sculptures are regarded by the Aboriginal communities as a way of sharing their way of life with the outside world whilst also containing complex references to their cultural traditions. The Maningrida people describe the Mimih as extremely thin, having necks so slender that a stiff breeze would be fatal. For this reason they emerge to hunt only on windless days and nights. As soon as a breeze develops, Mimih run back to their rocky caverns and disappear inside. (www.maningrida.com)

My musical interpretation of the mimih is in five brief sections that run continuously: The Land of the mimih spirit; The Dance of the mimih spirit; The Lament of the mimih spirit, with The Dance and The Land repeated. The structure of the piece is related to the repeating but varied layers of decoration on the sculptures, with the Indigenous clapsticks marking the changes between sections. The Land is full of bird song, transcriptions of Northern Territory Pied Butcherbirds, Yellow Orioles and Rainbow Pittas against a backdrop of slow atmospheric piano chords representing the vastness and age of the country. The Dance is fast and quirky, a depiction of the spirits jumping about the rocks, with its music based on an Arnhem Land tune called Truganinni’s Song. The Lament is composed from overlaid versions of a melody collected by anthropologist, Domeny de Rienzi in 1830. He entitled it Air australien des sauvages de la terre d’Arnheim. The music is a meditation on the post-colonial destruction of much Aboriginal culture, with the clapsticks almost entirely absent from the landscape.

Mimih was commissioned as part of my Residency with Künstler Bei Wu, its first performance taking place on 24 June 2017 in the Chamber Music Hall of the Künstler Bei Wu Sculpture Park, Wesenberg. The concert marked the inauguration of Bei Wu’s Indigenous Australian Art Gallery, in collaboration with the Australia Now Festival and Australian Embassy. The Residency is supported by an Arts Council England/British Council International Development Grant.The work is dedicated with gratitude to David Ng and Peter Wilmot Thompson. © Sadie Harrison 2017 with acknowledgement of www.maningrida.com.

Logos

Greater Hartford Arts Council

May 2017 

SQUISH! at Greater Hartford Arts Council Panel Discussion

Another big thank you to Kevin Cortlandt Bishop, Danielle Holdridge and Cuatro Puntos for giving SQUISH! King Kong's Love Song another whirl on 4 May 2017 at the Arts + Ability Panel Discussion and Celebration organised by the Greater Hartford Arts Council in Connecticut.  The work is a musical interpretation of an American Sign Language story for string quartet and ASL Interpreter. Cuatro Puntos have performed the work many times now, a rare and much appreciated occurrence! Further information about the work can be found in previous news items from 2016-17.

Paper Sheppard Skaerved

May 2017

Peter Sheppard Skaerved in Moretonhampstead Church & on TEDxBergen

www.eventbrite.co.uk/e/peter-sheppard-skaerved-the-virtuoso-violin-down-the-ages-tickets-32880918713
www.youtube.com/watch?v=aELBLQVt2GE 

Peter Sheppard Skaerved performed a selection of solo violin pieces from Gallery (Rooms 1 & 2) in the beautiful Moretonhampsted Church on Dartmoor in a programme entitled ‘The virtuoso violin down the ages’. It was also wonderful to come across Peter playing Scheherazade from Gallery Room 2 on TEDxBergen. This tiny fragment is dedicated to Peter’s wife Malene, a reference to her wonderful storytelling.

FSU London logo

May 2017

Lecture at Florida State University Centre, London

https://international.fsu.edu/london/index.html
http://music.dartmouth.edu/foreign-study

Really looking forward to my guest lecture ‘Composing Archaeology’ on 18 May at the Florida State University Centre in London as part of the Dartmouth Foreign Study programme. ‘For over 45 years, Florida State University has offered a small liberal arts college atmosphere in the heart of London. Small classes, dedicated teacher-scholars, and engaged peer groups make studying in London an enormously rewarding experience. With courses designed to maximize the use of the city as both a classroom and a text, and professors committed to an imaginative approach to teaching, students spend a great deal of their time learning by experience in London's museums, galleries, theatres, and neighborhoods.’

Invisible Cities & Imaginary Palces Nicola Lefanu

May 2017

Goldfield Ensemble celebrate Nicola Lefanu’s 70th Birthday with Gallery

Nicola Lefanu was my teacher and supervisor from 1986 -1989 during my studies at King’s College in London. Although my formal study with her lasted just these three years, her influence on my creative life has been immense and invaluable, and continues to be felt in every piece I write. I am so pleased that several of my miniatures for violin are being performed by Nickie Goldscheider and Ali Caldon as part of the Goldfield Ensemble’s celebration of Nicola’s 70th birthday.

Kate Romano writes:
“‘At some point,’ says author Eric Weiner, speaking on the 1972 book Invisible Cities by Italo Calvino, ‘you realize that Calvino is not talking about cities at all, not in the way we normally think of the word. Calvino’s cities—like all cities, really—are constructed not of steel and concrete but of ideas. Each city represents a thought experiment.’ This programme celebrates Nicola LeFanu’s 70th birthday with music inspired by her own Calvino-work Invisible Places and ‘thought experiments’ from 20th and 21st century composers, each taking the listener into worlds where fantasy expresses reality or, like Calvino, where discontinuous ideas make up a continuous narrative. The programme includes repertoire by LeFanu’s mother Elizabeth Maconchy and her former pupil Sadie Harrison. Harrison’s exquisite instrumental miniatures (Gallery Room 1 for solo violin) can be placed in any structural order, some of them mirroring ancient worlds and natural phenomena and others taking their starting point in the paintings of Brian Graham and Peter Sheppard Skærved, expressing visual and textural ideas in sound.”

Sadie Harrison - Gallery Room 1 for solo violin
Robin Holloway - String Trio
Nicola LeFanu - Songs without words
Sadie Harrison - Gallery Room 1 for solo violin
Tristan Murail- Les Ruines Circulaire
Elizabeth Maconchy - Clarinet Quintet
Sadie Harrison - Gallery Room 1 for solo violin
Elizabeth Maconchy - String quartet no. 3 1958 (13’)
Sadie Harrison - Gallery Room 1 for solo violin
Salvatore Sciarrino - Let me die before I wake
Nicola LeFanu - Invisible Places

BBC 3 Composer of the Week

April 2017

…ballare una passacaglia di ombre…on Lefanu’s BBC3 Composer of the Week

www.bbc.co.uk/programmes/b08n22xz 

Nicola Lefanu was my teacher and supervisor from 1986 -1989 during my studies at King’s College in London. Although my formal study with her lasted just these three years, her influence on my creative life has been immense and invaluable, and continues to be felt in every piece I write. It was an incredible privilege to have my miniature for violin solo ...ballare una passacaglia di ombre…featured as part of BBC Radio 3’s celebration of Nicola’s music on Composer of the Week (Episode 4) on 27 April. 

...ballare una passacaglia di ombre... or ‘dancing a passacaglia of shadows’ is a based on a celebrated mosaic by Sosos of Pergamon depicting an unswept floor. It was written for Peter Sheppard Skaerved and premiered by him at Ingram Hall, Nashville, Tennessee, on 19 September 2011. Peter recorded the work for Toccata Classics on Solos and Duos for strings and piano (2015).

Medeleine Mitchell & Nigel Clayton

April 2017

Madeleine Mitchell and Nigel Clayton record Aurea Luce for Divine Art

Absolutely wonderful that Madeleine Mitchell and Nigel Clayton are recording Aurea Luce for Divine Art this April. The work was written especially for Madeleine in 2015 as a thank you for her several performances of ‘an angel reads my open book’. The CD is a collection of world premiere recordings of works composed for Madeleine, including music by Judith Weir, David Matthews, Geoffrey Poole, Michael Berkeley, Michael Nyman and a live recording of Guto Puw's violin concerto with BBCNOW. The CD will be released later this year.

Kate Ledger

April 2017

Gallery in the Arctic and Baltimore

https://allevents.in/longyearbyen/consert-peter-sheppard

Peter Sheppard Skaerved will be performing movements from Gallery (Rooms 1 and 2) for solo violin on two continents in April. On 10 April, he will be presenting the pieces to students and staff at the Peabody Institute in Baltimore and on the 25 April, the music will be singing out in Svalbad, Norway, at the Kunsthall Svalbard, Longyearbyen. This is most certainly the most northerly venue my music has ever been performed! The programme is typical of Peter’s wide-ranging passions, drawing together repertoire from the 17th - 21st century, also including a world premiere of his own Three Groth Caprices for Svalbard :

Heinrich Ignaz Franz von Biber - Chaconne ‘Der Schutzengel als Begleiter des Menschen’ (ca. 1680)
Michael Hersch - ‘…in the snowy margins…’ (2010)
Peter Sheppard Skærved - ‘Three Groth Caprices for Svalbard’ (World Premiere)
Pietro Locatelli - ‘Il laberinto armonico’ (ca. 1730)
Nigel Clarke - ‘Pernambuco’ (1996)
Nicola Matteis - Prelude (1690)
Sadie Harrison - ‘Same Strand’ & ‘It Rubs off’ from Gallery (2012-13)
David Gorton - Caprices (2006 – 2016)

Welcome to a unique concert at Kunsthall Svalbard. Internationally known violinist Peter Sheppard Skærved invites you to a musical dialogue with Jan Groths work, Tegn V. Skærved has worked in close collaboration with the great artist Jan Groth, resulting in exchange of drawings, music, writing and ideas. Skærved, who is both a violinist, performer and storyteller, invites us to an interdisciplinary dialogue between visual art, thought and music. Prepare to be surprised, moved and challenged. Skærved has collaborated with well-known institutions like the Metropolitan Museum NYC, Victoria and Albert Museum and Tate Britain, London, and Library of Congress Washington DC, among many others. This spring he will perform at Bergen International Festival and Kunsthallen in Bergen, where Jan Groth is this year’s Festival artist.

Channel 4 news

April 2017

Extracts from The Rosegarden of Light on Channel 4 News

www.facebook.com/Channel4News/videos/10154703208196939/

Two extracts from Gulistan-e Nur:The Rosegarden of Light were heard as the background to a short Channel 4 documentary about Ensemble Zohra, the only female orchestra in Afghanistan, from the Afghanistan National Institute of Music. Negin Khpolwak, one of the two principal conductors of the ensemble is seen leading the ensemble in a performance of Watan Jan (Dear Homeland) which is based on a traditional Afghan 7/8 dance tune. Watan Jan was recently performed by Ensemble Zohra together with Bahar-e nastaran Bihag (Radio Piece), and a specially commissioned orchestral work, Sapida Dam Nau (New Dawn) in Ensemble Zohra’s European Tour to Berlin, Geneva, Zurich and Davos including a performance in the Closing Concert of the World Economic Forum in Davos in January.

Prima Facie logo

April 2017

Recording solo piano disc for Prima Facie

I am very excited indeed to be recording a number of recent piano works with four fabulous pianists - Pippa Harrison, Duncan Honeybourne, Ian Pace and Renée Reznek - for Prima Facie this April. All of the works - The Return of the Nightingales for piano and nightingale song, Par Feshani-ye d’Eshq, The Souls of Flowers, Northern Lights, Luna for Nicola, Four Jazz Portraits, Lunae: Four Nocturnes and Shadows: Six Portraits of William Baines have been written within the last 5 years. As several of the works contain references to the music and culture of Afghanistan I am so pleased to have been granted permission to use an image created by young Afghani street artist Shamsia Hassani for the cover. It is entitled Dreaming Graffiti from her Birds of no Nation sequence. Do take a look at her work which is dramatic, beautiful and brave - https://en.wikipedia.org/wiki/Shamsia_HassanHarrison, Honeybourne, Pace and Reznek

Universla Design in the Classroom and Beyond

April 2017

Squish! at Columbia University, New York

https://www.facebook.com/events/1240692359379767/

Yet another outing for Cuatro Puntos and Squish! for string quartet and ASL interpreter, this time as part of a Panel Discussion and Performance for the Deaf Education Program at Teacher’s College, Columbia University, New York on 14 April at 5pm. The event is entitled Deaf Music: Universal Design in the Classroom and Beyond ‘with a film screening and panel event exploring the intersection of music and universal design in the context of deaf education and performance. The project brings together a team of deaf and hearing musicians, poets, educators, and artists to explore questions about the relationship between music, ASL poetry, Deaf culture, universal design, and education. At the panel and film screening, collaborators will come together to reflect on the experience, share practical tools for educators, and consider directions for future exploration.’

George Sleightholme & Alex Wilson Bell sheet music

March 2017

Dr K. Sextet performs Bell Music for St. Casimir at Late Music York

http://www.latemusic.org/event/dr-k-sextet/

Clarinettist George Sleightholme and pianist Alex Wilson from Dr K. Sextet gave a fantastic performance of Bell Music for St. Casimir on March 4th at the Unitarian Chapel as part of Late Music York. The programme was themed around story-telling, several pieces exploring folk tales from around the world.

I wrote Bell Music after a visit to Vilnius, capital of Lithuania in February 2004. The clarinet plays a traditional lullaby called Aa-a-Mazulyte (Ah, the little one) and the piano echoes the music from an unusual set of bells in the towers of the Jesuit Church of St. Casimir. In 1997 the Lithuanian composer,Vladimir Tarasov, constructed a set of tubes and sails so that the 15 bells could be played by the wind. As the wind changes so does the music. The clarinet and piano play quite independently until they come together towards the end of the piece. Bell Music for St. Casimir was recorded by Ian Mitchell and Thalia Myers for SPECTRUM ABRSM:

https://soundcloud.com/sadie-harrison-composer/bell-music-for-st-casimir

There is also a version for violin and piano recorded on NMC An Unexpected Light by Rusne Mataityte and Sergey Okrushko.

BBC 3 - The Rose Garden of Light

March 2017

BBC Radio 3 broadcast of Gulistan-e Nur: The Rosegarden of Light

https://toccataclassics.com/product/sadie-harrison-the-rosegarden-of-light/

Gulistan-e Nur (The Rosegarden of Light) was broadcast on BBC Radio 3 on 2 March 2017 as part of the PRSF Women Make Music selections for 2016. The 25-minute piece was performed by the young women of Ensemble Zohra from the Afghanistan National Institute of Music conducted by Camilo Jauregui, alongside US string sextet Cuatro Puntos - Kevin Cortlandt Bishop, Allan Ballinger, Aaron Packard, Steve Larson, Holly Fischer and Annie Trépanier. The work has been recorded by Toccata Classics on a disc including traditional music performed by the young musicians from ANIM National and arrangements of popular Afghan songs by Cuatro Puntos’ violist Kevin Bishop. One of the Rosegarden’s Interludes was recently broadcast on BBC3 Record Review, the disc being described as ‘intriguing and moving’.

Ling Kong's Love Song

March 2017

Squish! at Big Red for the Arts Gala, Infinity Theater, Hartfor.

https://letsgoarts.org/BigRed
https://www.facebook.com/cuatropuntoschambermusic/videos/

Cuatro Puntos gave another performance of Squish! King Kong’s Love Song as part of Hartford Connecticut’s Arts Council Big Red for the Arts Gala on 10 March 2017. it is wonderful that the piece has had so many outings, celebrating deaf culture in the state. ‘All proceeds from the Gala evening went to the Arts Council's 2017 United Arts Campaign, which supports arts organizations and programs that keep our communities strong and vibrant - providing educational opportunities for thousands of residents, revitalizing neighborhoods, celebrating diversity, and driving the local economy.’ The work was written during my Residency with Cuatro Puntos with funds from the Connecticut Department of Economic and Community Development.

March 2017

Contributor to PRSF Women Make Music Evaluation 2011-2016

http://www.prsformusicfoundation.com/wp-content/uploads/2017/03/PRS-Foundation-Women-Make-Music-evaluation-report-2017-FINAL.pdf

In 2016, the collaborative project The Rosegarden of Light European Tour (involving the American ensemble Cuatro Puntos, Ensemble Zohra from Afghanistan and myself) was awarded a PRSF Women Make Music grant. Following this award, it was a great privilege to be asked to contribute to the PRSF WMM Five Year Evaluation 2011-2016.

The aims of Women Make Music are:
To break down assumptions and stereotypes within the music industry by encouraging role models for future generations; to raise awareness of the gender gap and to ensure that women are aware that support for new music is available to them; to increase the profile of women who are creating new music in the UK; to encourage women who may otherwise not have applied for PRS for Music Foundation funding to do so.

Vanessa Reid (CEO, PRS Foundation):
‘Our evaluation explored the current barriers faced by music creators and solutions that respond to these challenges such as the continued importance of awareness raising across the music industry, the need for more women in the

industry workforce, involvement of men and women as ambassadors for change and investment in targeted initiatives like Women Make Music in response to specific barriers. This feedback informed a roundtable discussion that we organised in March 2017 at Portcullis House in Parliament. This was attended by MPs, Women Make Music grantees, representatives of the music industry, BBC, Arts Council England, Creative Industries Council and GLA. This evaluation shows how Women Make Music, as a strategic intervention in artist development, is playing a vital role in building confidence, supporting career development, and positively endorsing female talent in an industry which has significantly lower female representation than men, particularly amongst artists and also within the workforce.’

Women Make Music Evaluation

Tthe American School of the Deaf St. Mark’s Lutheran Church, Glastonbury

March 2017

Squish! Three performances with students from the American School for the Deaf

Squish! (King Kong’s Love Song) will receive three further US performances on March 1 2017 at the American School of the Deaf; the fabulous Gothic Revival Christ Church on Main Street Hartford, Connecticut on 2 March and again on 3 March at St. Mark’s Lutheran Church, Glastonbury.

The work was written during my Residency with the US ensemble Cuatro Puntos with funds from the Connecticut Department of Economic and Community Development.

The Afghanistan Women’s Orchestra with conductor Negin Khpolwak Afghanistan Womens Orchestra World Economic Forum logo

January 2017

Premiere of Sapida-Dam-Nau at the World Economic Forum, Switzerland with performances in Geneva, Zurich, Berlin and Weimar

www.weforum.org/press/2016/12/afghan-women-s-orchestra-zohra-launches-tour-at-world-economic-forum-annual-meeting-2017-in-davos

#zohratour

Webcast live at www.weforum.org

On ANIM’s website, Ensemble Zohra is described as ‘the first of its kind in the country. It consists of over thirty female students from grades 6 – 12. Led by young female conducting students who are the first female conductors in the country’s history, this ensemble is an important step in providing opportunities for female musicians to unite in solidarity, deepen their commitment to music, and develop their skills as collaborative musicians. Ensemble Zohra is prominently featured on the album "The Rosegarden of Light," released internationally on Toccata Classics and Naxos in 2016. Via this album, the Ensemble has been heard on radio and online broadcasts all across the world. The young female conductors are overseen by Ustad Kevin Bishop.’

It has been an unbelievable honour to write for these young women and I am absolutely thrilled that my new work Sapida-Dam-Nau (New Dawn) will be premiered at the Closing Concert of the World Economic Forum in Davos, Switzerland on 20 January 2017 conducted by Kevin Bishop with subsequent performances at the Tonhalle-Gesellschaft Zürich, Centre for the Arts, International School of Geneva, Kaiser-Wilhelm- Gedächtnis-Kirche (Berlin), Großer Saal des Musikgymnasiums Schloss Belvedere (Weimar). Full details of the tour including information about live streaming of the World Economic Forum Closing Concert and associated Press Conferences can be found at:

https://www.weforum.org/press/2016/12/afghan-women-s-orchestra-zohra-launches-tour-at-world-economic-forum-annual-meeting-2017-in-davos

PROGRAMME NOTE:

The AWO is unique in its integration of traditional and western instruments, including the tanbur, ghichak, dilruba, sitar, rubab and qashkarcha, instruments which feature alongside compliments of strings, woodwind, percussion and piano. Sapida Dam-Nau integrates the instruments into a piece which celebrates the unique sound of the ensemble.The huge variety of sounds are transformed into jubilant peals of bells and two contrasted melodies. The first melody is lyrical and reminiscent of the English pastoral and the second is joyous in character, inspired by an Afghan-Indian scale associated with early morning. The title is suggestive of the music that might be heard at dawn in both my home town of Shaftesbury and in Kabul and also celebrates the ‘new dawn’ of music in Afghanistan. It is particularly wonderful that this rebirth is being spearheaded by the Afghanistan Women’s Orchestra ‘Ensemble Zohra’ (Venus). The commission was generously supported by a 2016 Finzi Trust Scholarship.

Afghanistan women conductors Afghanistan women conductors

January 2017

Afghanistan’s first women conductors lead performances from Gulistan-e Nur (The Rosegarden of Light)

https://www.weforum.org/press/2016/12/afghan-women-s-orchestra-zohra-launches-tour-at-world-economic-forum-annual-meeting-2017-in-davos

#zohratour

Webcast live at www.weforum.org

Alongside the performances of Sapida-dam-Nau conducted by Ustad Kevin Bishop, the World Economic Forum Closing Concert and following European concerts will feature two of the Interludes from Gulistan-e Nur (The Rosegarden of Light) written for Ensemble Zohra and US ensemble Cuatro Puntos in 2015. It is absolutely wonderful that they will be directed by Afghanistan’s first female conductors - Negin Khpolwakand Zarifa Adiba, students at the Afghanistan National Institute of Music. Negin will conduct Bahar-e nastaran-bihag (Radio Piece) with Zarifa conducting Watan Jan (Dear Homeland). Kevin Bishop, Director of Orchestral Studies at ANIM (and conducting tutor to the young women) says: It is an important and symbolic gesture for a woman to take a public, leadership role in Afghanistan - and it is one that does not come without risks. All of our young ladies have been very brave and defied the odds against violence and poverty to come to school each day.’ It has been my honour to be associated with all the young people at ANIM, but particularly with these women who are quite simply helping to rewrite history!

Strange Worlds

January 2017

New Music South West Commission at the Royal West of England Academy

www.nmsw.org.uk

www.rwa.org.uk

www.heathernevay.net

I am very pleased indeed to have been commissioned to write a new chamber work as part of a collaborative project between New Music South West (Director: Julian Leeks) and the Royal West of England Academy in Bristol. The work will be part of a programme inspired by the RAW’s exhibition STRANGE WORLDS: The Vision of Angela Carter. ‘Strange Worlds is a major exhibition that celebrates the life, work and influences of author and journalist Angela Carter, twenty five years after her death. In bringing together art and literature, this exhibition explores the enormous impact that Carter made as one of the most distinctive literary voices of the last 100 years’ (Fiona Robinson RWA).

My piece takes the extraordinary ‘fairytale’ world of Heather Nevay’s painting The Murder (2016) as its starting point - a world which references dark childhood games and the Salem witch trials within an idyllic bucoliclandscape. Sadie’s music attempts to capture something of the painting’s uneasy atmosphere through intertwining a setting of Psalm 124 (from the 16th century Ainsworth Psalter taken with the Pilgrims to Massachusetts and sung by the earliest settlers in Salem), a traditional Scottish dance tune The Twa Sisters associated with the text of a murder ballad dating from the same period and There is a Happy Land, a sacred hymn tune by Scottish schoolmaster, Andrew Young (heard in this performance on a 19th century hand cranked music box). Heather is Scottish!

The work will be premiered by Harriet Riley (marimba), Andy Keenan (clarinet) and Richard Phillips (cello) in the RAW Gallery on 22 January 2017 alongside works by David Greenhorne, Jean-Paul Metzger and Jim Aitchison.

 

Künstler Bei Wu Sculpture Park Künstler Bei Wu Sculpture Park

December 2016

Appointment as Composer-in-Residence at Künstler Bei Wu Sculpture Park, Berlin Arts Council Artist’s International Development Fund Award

www.kuenstlerbeiwu.com

www.uymp.co.uk/news/sadie-harrison-composer-in-residence-at-sculpture-park-wesenberg

It is a great honour to have been appointed as the first Composer-in-Residence for the Künstler Bei Wu Sculpture Park Wesenberg in Germany, generously supported by an Arts Council England Artist’s International Development Grant. Under the auspices of the Peter Wilmot Thompson Stiftung, the Sculpture Park Wesenberg was opened on 25th June, 2016. It is located between the three towns of Neustrelitz, Mirow and Wesenberg on the beautiful Weissensee (White Lake or Bei Wu), in the Mecklenburg lake district at the southern entrance of the Müritz National Park. The Park is committed to the cultural exchange of fine arts between Australian and German artists, functioning as both a working artist’s colony with in situ studios, and as a public exhibition venue with several newly-designed gallery spaces.

The inaugural exhibition displayed 23 large sculptures installed in the surrounding forest with more than 60 pieces in the adjoining exhibition galleries. Featured artists for 2016-17 currently include Inge King, Erwin Fabian, Jock Clutterbuck, Michael Cartwright and Shona Nunan, Jacob and Sollai Cartwright, Michael Kutschbach, Oliver Tanner, Johann Carrera, Mig Dann, Benjamin Storch, Laurence Edwards, Fre’ Ilgen, Takayuki Daikoku and Alan Chan.

I will write a number of works through the year, including a new piece for the Inauguration of the Park’s Australian Indigenous Art Gallery in June 2017. The opening will coincide with the AUSTRALIA NOW festival organised by the Australian Embassy in Berlin, celebrating the cultural and trade relationship between Australia and Germany. Sadie will also be writing a piece for the Park’s resident Ensemble Bei Wu which consists of Baroque strings, transverse flute and harpsichord, a chamber work in the style of Weimar Republic cabaret music and a series of solo works to be performed amongst the outdoor installations.