Wishing to challenge myself, my music, and my process, and as a self-declared technophobe, I decided to apply to the CoDI Sound scheme working with ensemble Uproar and the electronic composition expert Andrew Lewis - after all, what better hands could I be in?
Well, it seems that after two amazing workshops in Bangor brimming with technical wizardry, I have managed to dip my toes, all be it tentatively, into the ocean of composing for electronics. The first session included an engaging rehearsal of Murail’s Winter Fragments, which offered both an interesting insight into the unpicking of a work for ensemble and electronics, and a few ‘what not to do’ moments that have proven helpful when considering my own work – we won’t start on why barlines are important! The remaining time saw the composers experimenting with patches, programmes, processes, and performers, all of which igniting ideas. Last week, the second workshop brought more time to focus on our individual pieces-in-progress, building on the foundation of sonic sorcery laid down on the first workshop day, and giving composers time to explore and experiment.
The ensemble’s unflinching dedication to new music and the abundance of advice and help offered has enabled the development of a new work. Luckily, my ideas have seemed fairly simple to implement with some welcomed help from my fellow composers and technologically minded maestros. Yes, it has led to the odd few days of confusion, but I’m hoping the result will be something I can be proud of for my first piece with electronics.