FROM TIM GARLAND

This was perhaps the most unusual and potentially challenging commissions I’ve had: How to reach an audience of several hundred in a way that turns all of the problems of playing in cathedrals, into assets. Whilst at one level the compartmentalisation of music genres persists, at another there remains the natural evolution of integration, and its public face is perhaps not as hidden as it once was. I think that to make a successful hybrid performance, the composer needs to know about all the musical elements in some depth, and preferably, quite simply, to love them all.

In the early acts of composing, there is a good deal of visualisation, and in this case it was certainly true, what with the dramatic positioning of these players around the audience, and all the movement concerned. In a very real sense, the natural reverb is a major player in the proceedings, determining at times the pace and breath of the music and being the carrier wave between the players who are often hundreds of feet apart without visual contact. People have compared the effect to birdsong, when the music ricochets over the listeners’ heads in a dialogue of zig-zags.

A friend of mine, when asked at an airport customs desk by a stone-faced guard, when asked “what kind of music do you play?” replied “human”. I can’t think of a better definition here. Our audiences seem to comprise a varied cross-section and the disparate backgrounds of the musicians are fascinating too, but way above this is the sense of unity with which we all engage in the performances.

This is also democratic music. The string players have more autonomy than in much of their work; they are all soloists, they all can determine elements of the music, and rather like actors in a play, they make their roles come alive with conviction. Perhaps these elements of spontaneity within a larger structure are what give me the most pleasure, as I know these factors are not only communicating well with audiences, but represent both our challenge and a our evolution as players, regardless of our background.

TG Whitley Bay – Sept 08

Comments from Richard Hawley – Director, Lichfield Festival:

Dear Malcolm,

A belated email to say thanks very much for taking the time to visit Lichfield Festival for such a wonderful performance the other week. It feels like I’ve just lifted my head up from my desk and a month has already gone.  Please pass on my best wishes to Tim, Gwil, Ben, Robin, Charlotte, Emma, Hannah and Cara.  It was really great to see you all again (and to meet Emma and Charlotte) and I trust all is going well with the continuation of the tour.

Best wishes, Richard.

Musician’s experiences on tour

From Malcolm: Now we are half way through our tour, I thought it would be nice to ask some of the musicians to write about their experiences so far. Here’s what Charlotte wrote:

 

“The day Malcolm phoned me asking me if I had public liability insurance and soft flat shoes, I knew I was in for interesting ride on this tour! Little did I know that I would trekking up into ‘the Gods’ in these outstandingly wondrous Cathedrals to play some of the openings phrases of each concert, sometimes crouching in a stone passageway or balcony, even balancing on a wooden plank or the top of a roof vault! Thankfully there are always lovely Cathedral staff on hand to escort Emma and me up to those precarious locations, although several have told me that it is usually impossible to enter these parts of their Cathedral! I often seem to get a nice thick coating of dust, so i’ve taken to rolling up my black trousers and shirt sleeves – leaving me some room to look presentable when I descend down the many spiral steps and (slightly dizzily) join the others on the ground floor. 

 

The acoustics in these magnificent buildings vary so much. As I wait in the Gods for Tim’s opening phrase, I feel I have to wait a number of seconds until I can start the answering phrase. Each time it’s different though, and sometimes the echoes are deceptively long and I kick myself for entering too early over Tim’s reverb.

 

It’s such a pleasure to be a part of something so innovative and to spend time with such wonderful people. Its a truly unique experience doing this tour, and being only halfway through means there is much more fun to be had.”