BRITTEN SINFONIA OPUS PRIZE WINNER JANUARY 2019
“Following a workshop at Saffron Hall with Sir James MacMillan and five shortlisted composers, Britten Sinfonia is pleased to announce that Robert Singer has been selected as the winner of OPUS2018. Robert’s piece, a setting of texts about the sea, will receive its world premiere tour in March 2019 at Wigmore Hall, London; West Road Concert Hall, Cambridge; and St Andrew’s Hall, Norwich. Robert will also receive a commission fee, and a professional recording of his work.”
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The Hurricane is a piece based upon elemental forces. Fire, Water and Wind reflect the non-stop chaos and turmoil that seem inevitable as part of our existence, but are also anchors to the land, reminding us of the vast stillness that is all around us. Sung by Chanae Curtis, this three part song cycle will be performed during the first half of 2019. Stay tuned for updates.
Here is a preview of one of the movements:
BLUE LIGHT TURNED IN TO MUSIC: SOUND TO FILM
This spring, several pieces were developed to find a new and exciting way to link music to picture. There are many musicians who are able to turn field recordings in to engaging and exciting music, but I have gone a step further. I have taken a lot of time to develop the mindset that enables these recordings to be understood, processed, and put together in an original, musical and accessible way. I have put much consideration into how these sounds work together with tonal instruments, and how the result can start to fool our perceptions when synchronised to picture. Finding a hybrid between perceived sounds on film and music is the area that I am developing, and the super high definition of product videos with their movement, shapes and attention to detail is an interesting area to explore for this.
Here is one of the latest examples of what I have been working on. It uses a violin bow on a slackened bass guitar string which was pulled to alter the resulting pitch. The result was an animalistic, wale-like sound.
Distortion Texture Music
I have been particularly inspired by the work of Benjamin Wallfisch in films such as Blade Runner 2049. I have been using the musical and rhythmic features of distortion to create grime and atmosphere. Several pieces have been developed using the features of distortion and saturation to create atmosphere. Gritty distortion and the sense of something ‘dusty’ and tangible within the music soundtrack for film and television is a trend that I have noticed arising as a counterpart to highly polished soundtracks for films of the past.