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A detailed account of forthcoming premieres and commissions for composer Marc Yeats [the PDF is also linked to Yeats' website].
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This PDF biography and C.V. is hyperlinked to Marc’s Website
Marc Yeats is a composer and visual ar?st. His intense music has been performed and commissioned around the world. He has worked with many dis?nguished performers, ensembles and musicians including Psappha, the London SinfonieFa, the Endymion Ensemble, Paragon Ensemble, the ScoHsh Chamber Orchestra, the BBC Philharmonic Orchestra, Hallé Orchestra, Tokyo City Philharmonic and Gewandhaus Radio Orchestra, among others with many broadcasts on BBC Radio 3, BBC Radio Scotland, European and US radio sta?ons.
Marc is Composer-‐in-‐Associa4on with:
Thumb Ensemble [Birmingham UK]Manchester Pride [Manchester UK] Chamber Cartel [Atlanta, Georgia US]SATSYMPH [Bristol/Crewkerne UK]
Recent large music commissions include: SATSYMPH’s ‘on a theme of Hermes’; an original work which fuses contemporary classical ensemble music and contemporary poetry in an en?rely new and innova?ve way having a truly unique method of delivery via smartphone apps, and sturzstrom, a large choral work commissioned by Coastal Voices as part of an umbrella project that explored the Jurassic Coast with newly commissioned composi?ons linking music and earth sciences through the voice. Performances included the premiere, 300 feet underground in Beer Quarry Caves, Devon; Lighthouse Poole and the opening ceremony of the Olympic sailing events in Weymouth and Portland, Dorset in July 2012.
Other commissions include a string quartet for the Corsham Fes4val, black bile for Thumb Ensemble and worship of the oak for Manchester Pride, a brass quintet for Alba Brass, ‘the shape distance’ for Chamber Cartel [US] and many other commissions to be announced.
aboutLISTEN | Marc’s music
INTERVIEWS | video interviews
CATALOGUE | list of works
LINKS | links + partners
Latest news and confirmed premieres 2013:
• June. Marc is Ar?st-‐in-‐Residence at the Marburae Art Gallery, Maccelsfied, Cheshire for summer 2013 with the premiere of two piano works in the Barnaby Fes4val performed among the exhibi?on of his pain?ngs.
• Marc is proud to announce he is now composer-‐in-‐associa?on with the Atlanta new music ensemble Chamber Cartel – more:
• Over the next 18 months a huge collec?on of Marc’s piano music is being recorded. This summer, Marc is working with Belgian pianist Geert Callaert to record four pieces including the ferociously difficult Viciousness of Circles, Oroborous and ‘ENÛMA ELIŠ’. Comprising an hour of music, this ini?al collec?on of pieces will be the first professional recording of Marc’s piano music. Geert will be recording the work in Academiezaal Sint Truiden; a beau?ful concert hall in Belgium. Geert and Marc are also making a documentary video of their work together in August this year. Live performance of the pieces will follow at venues around Europe.
• There will be much more piano music recorded in 2014 as Marc will be working with Pierre-‐Arnaud Dablemont, a wonderfully talented pianist based in Brussels. Pierre-‐Arnaud will be recording Marc’s epic series of pieces ‘the magical control of rain’ [c.48 minutes] for release late in 2014. ‘the magical control of rain’ is Marc’s most recent solo piano composi?on. Read more here
• June. pathos for solo cello, with Patrick Tapio Johnson, Antara Fes?val London
• July ōrāre for bass trombone and piano performed by Dirk Amrein and Jürg Henneberger, Mahidol University, Bangkok, Thailand
• August. An ‘all Yeats’ lunch?me recital with ‘crowded rooms’ ensemble including Jenni Hogan (flute/piccolo) and Leo Nicholson (piano) as part of Marc’s Manchester Pride composer-‐in-‐associa?on role at The Cosmo Rodewald Concert Hall, The Mar?n Harris Centre, Manchetser University as part of Manchester Pride Classical Concert Series including playful geometry for piccolo and piano, a the^ of cold moisture for solo flute and ENÛMA ELIŠ for solo piano
• September. As part of Marc’s composer-‐in-‐associa4on rela4onship with the US new music ensemble, Chamber Cartel will premiere the en?re ‘the shape distance’ [1-‐7] series in Atlanta, Georgia. These works will also be studio recorded for Chamber Cartel’s first CD release
Premieres in 2014
Marc has completed a duo commission for pianist Geert Callaert and double bassist, Mar?n Rossi. and cherries all black to be premiered in Brussels next year and subsequently taken on tour around Belgium.
We Are Wolfpack have commissioned a new work for 6 instrumentalists called the dog and the wolf to be premiered in London in April 2014.
Meridian Brass will premiere their new commission from Marc for brass quartet; through woods in riot at a Nonclassical event in London [venue tbc]. through woods in riot will be professionally recorded by Meridian Brass in the weeks following the premiere. There will be more to announce from this rela?onship in 2014.
Poste Haste Reed Duo will premiere invoco for soprano saxophone and bassoon in the US in the summer of 2014.
oros is Commissioned by Audi4v Vokal to celbrate “Einstürzende Mauern”. It will be premiered in Dresden on 26th February 2014 with a further performance on the 27th.oros is for 8 voices: SSS AA T BB [ 3 sopranos, 2 altos, tenor and 2 basses]
Further commissions in the US for 2014 and beyond:
KOEK duo -‐ a new substan?al work for soprano and tenor saxophone to be premiered in 2014Clibber Jones Ensemble -‐ a new work for ensemble for the spring of 2014 with an Atlanta premiere
And a new commission for Chamber Cartel’s 3rd. season to be included in an all Yeats’ concert at The Goat Farm, Atlanta, US in late 2014.
Under the auspices of their new ini4a4ve, Crea4ve Music Composer Con4nuum (CMCC), the CHICAGO MODERN ORCHESTRA PROJECT has asked composer Marc Yeats for a new composi4on for their 2014-‐15 season. The new commission will see Marc con?nuing his composi?onal research around unsynchronised performance and composi?onal techniques, culmina?ng in a substan?al work for brass ensemble, percussion and strings [with op?onal piano] that will push Marc's unsynchronised composi?ons into the orchestral sphere for the first ?me. The work will be directed but only to ini?ate sounds and instrumental groupings. All performers will play 'as soloists', following their own fully notated parts which shall contain different tempi, bar structures and material, simultaneously performed [unsynchornised] across the orchestra without a unifying beat from the director. Each performer will play 'live and [to a certain extent] free'. Due to the composi?onal nature of the music, each performance will yield slightly different results, interplays, gestural and harmonic references and unique outcomes crea?ng music of great fluidity, unpredictability, beauty, complexity, wild energy and connec?vity. This music cannot be read from a conven?onal score; it renews itself with each performance and can only be 'revealed' when played live.
What others have said about Yeats’ work:
“Marc Yeats’ musical voice is quite unlike anything else; the music is challenging to both performers and audiences, and very communica?ve. He produces extraordinary composi?ons that not only look and sound good, but demonstrate a very high level of academic learning, while being breathtakingly original.” Sir Peter Maxwell Davies
Click HERE to listen to Sir Peter Maxwell Davies in conversa8on about Marc Yeats’ PAGAN II for orchestra before he conducted the work with the BBC Philharmonic.
“Yeats’ instrumental roles are demanding, pushing every player to extremes of agility. The intensi?es of expression are not empty extravagances, however, but the comment of an expressionist drama that exudes the passion and life-‐energy of their creator.” Piers Helliwell
“Refreshingly unfeFered in concept – it’s something of a tour de force” Lynne Walker, The Independent on The Round and Square Art of Memory
“He uses his orchestra resourcefully; fresh and intriguing colours, but he uses his musical ?me even more resourcefully, never allowing the ear to lose track of the changing and evolving ideas.” The Scotsman on The Round and Square Art of Memory
“Yeats has a strikingly individual feel for the texture of an orchestra, yet it’s never in all-‐purpose avant-‐garde alienated tones. But this is the second fabulous piece I’ve heard from this emerging composer, and if there’s more where that came from we have a major new Bri?sh talent on our hands.” David Fanning, The Telegraph on The Round and Square Art of Memory
“That Yeats has something to say in the wild shrieking music is beyond ques?on. He hurls himself at the sound with an admirably pure and savage impressionism.” The Scotsman on The Anatomy of Air
“… he unleashes every shade on the paleFe, and con?nually pushes instruments, textures and dynamics to extremes. “The Herald on The Anatomy of Air”
“The orchestral work ‘I See Blue’, is startlingly original in its structure and orchestra?on, using brass and bass drum to unexpected and powerful effect, with dazzling combina?ons of string and wind colour.” Sally Beamish
“Marc Yeats is one of the most exci?ng composers I have encountered in recent years. His ability to use maximum with all ?mbres of the instrument, whilst never sacrificing the very heart of the music, gives the musician many challenges which are exhilara?ng to discover.” Kathryn StoR
“The sheer noise of the percussion sec?on through which Kathryn StoF somehow managed to make the piano audible set a new decibel level for this hall. Yet one felt an original crea?ve mind at work, not just a bruiser but a maverick with some kind of purpose.” Michael Kennedy on The Round and Square Art of Memory
VOX review: Sarah WaFs, Park Lane Group Young Ar?st Concerts, Purcell Room, South Bank Centre, London: VOX was premiered by and wriFen for Sarah (WaFs), with the inten?on of depic?ng as many voices as the instrument is capable of. In Sarah’s hands the instrument spat, grumbled, screamed and sang throughout. Making use of the al?ssimo range of the instrument at every turn, this has to be one of the most demanding yet effec?ve works in the repertoire, both musically and technically.” Sarah James, Clarinet and Saxophone Magazine
Yeats is largely self-‐taught, though he has received support and encouragement from Maxwell Davies a{er aFending his composi?on summer school on Hoy some years ago. He is also a painter, and the possibility that the audio and visual aspects of his crea?ve imagina?on are linked in some way should not be ruled out. Yeats is an experimental composer in his own highly individual manner, and this is reflected in almost all his recent scores. ‘a wai4ng ghost in the blue sky’ was the most ‘advanced’ music on offer at this year’s Fes?val, yet the confidence with which Yeats deployed his material ensured a warm recep?on. John Warnsby – Fes8val Review: St Magnus Fes8val – 16 – 21 June 2000
Part of the Coastal Voices Project in Dorset and east Devon, sturzstrom has no famous par?cipants. It’s a vocal work I stumbled across while reading the blog 5against4.com and is one that expresses – in the words of the composer, Marc Yeats – “the forma?on and geology of the Jurassic coast concentra?ng on the phenomina of landslips, mudslides and coastal erosion”. I’m sure we can all agree it’s been a while since we heard one of those. The piece was made using nothing but vocals from community choirs and pebbles for percussion but it was no simple affair. Geologists were offered crea?ve input, while – not wan?ng to limit the music to conven?onal nota?on – Yeats created a variety of signs and symbols for the vocalists to learn and interpret (looking at the score feels more like a maths exam than a piece of music). It certainly sounds different: the volley of shrieks and bellows have a feral quality to them and create genuine excitment. At the same ?me, crescendos can disappear into whispers just as quickly. Tim Jonze On Shuffle … Experimental music | The Guardian | 30th June 2012
Marc conduc*ng ‘sturzstrom’ in the icci360˚ Arena, Olympic Opening Ceremony, Weymouth and Portland, July 2012
Awards, Prizes, Commissions and Bursaries (selected)
1994 Hoy Summer School, SCO, Sir Peter Maxwell Davies – a>endance bursary1994 ScoBsh Arts Council Summer School and Travel Bursary.1995 ScoBsh Arts Council Composer Bursary.1995 ScoBsh Arts Council. A>endance fees for the AssociaJon of BriJsh Orchestras Conference.1996 ScoBsh Arts Council Composer Bursary.1997 ScoBsh Arts Council Composer Bursary.1997 Commission – St Magnus FesJval – 25 minute orchestral piece for the SCO1997 Hope Sco> Trust Composer Bursary (for 3 years).1997 ScoBsh Arts Council Commission for visual art ‘Resound’ project.1997 Prize winner – Next Millennium InternaJonal Composers Award, Japan.1999 The Arts Trust of Scotland – travel expenses for Italian performance.1999 Commission – BBC – 32 minute orchestral work for the BBC Philharmonic and Kathryn Sto>1999 Commission – The London Sinfonie>a – ensemble piece2001 Commission – Kathryn Sto> – solo work for saxophone2001 Five Islands Project – Colour Songs: The NaJonal Lo>ery Access and ParJcipaJon Scheme.2001 Commission – Sarah Wa>s – solo work2002 Commission – Hebridean Music Workshops SAC lo>ery funds – 40 minute ensemble work2002 Commission – Hebridean Music Workshops – SAC lo>ery funds – 5 watercolour painJngs2002 Commission – ensemble piece – 175 East, New Zealand2003 Commission – Lonba, ArgenJna – ensemble piece2004 Commission – An Tuireann – SJllness in movement – 60” ensemble piece2004 HI~Arts – ArJst’s creaJve bursary2005 Commission – Henri Bok – solo work2005 Commission – Ro>erdam Conservatorium – orchestral work2005 First prize – internaJonal composing compeJJon, WBCC, Ro>erdam, Holland2006 GO EVENTS – grant towards development of website music download faciliJes2006 Hope Sco> Trust – Funding towards the producJon costs of the new CD opera – Haar2007 Commission – ScoBsh Clarinet Quartet – work for 4 bass clarinets and percussion2007 Commission – Symposia – work for 4 instrumentalists and digital sound-‐track2007 Commission – SCAW – new work for bass clarinet, piano and electronic sound-‐track2007 Commission – Trio IAMA – new work for flute, cello and piano2007 ScoBsh Arts Council – Professional Development Grant – developing new dance music.2007 – 2009. An extensive list of commissions specifically referenced in Yeats’ music biography.2008 Hallé Orchestra with My Blood is as Red as Yours for World Aids Day2009 Arts Council England – Grants for the Arts – collaboraJve locomoJve GPS music/word fusion.2009 Kokoro – commission, ‘shadow and the moon’ for sextet.2009 BBC commission. rhema for harpsichord circa 10mins. In total.2010 Announced as Composer-‐in-‐AssociaJon with Manchester Pride2010 1 of 5 shortlisted composers with PRSF NMA (Turner Prize for music) with SATSYMPH2011 Commissioned work for ConsorJum5 recorder quintet for 2011 – ‘the bone eaJng snot flower’2011 New work ‘crowded rooms’ for 14 instrumentalists for Leeds University in March 20112011 New commissioned work for silent film with Ensemble Amorpha (amorpha_shorts) for 20112011 Commissioned work ‘Eris’ for flute and viola Manchester Pride Music FesJval 20112011 Commissioned work for massed choirs ‘sturzstrom’ for 2012 Cultural Olympiad (Coastal Voices)2011 Commissioned work SATSYMPH – on a theme of Hermés 2012 Worship of the oak [trio for violin, cello and piano] -‐Manchester Pride FesJval commission 2012 ethos [solo trombone] Dirk Amrein 2012 the need fire [string quartet] Corsham FesJval commission 2012 sunergia [piano four hands] commissioned by Music Orba Duo 2012 black bile [ensemble] commissioned by Thumb Ensemble 2012 quarter sounds [solo bass clarinet] commissioned by Sarah Wa>s 2012 pathos [solo cello] commissioned by Antara FesJval 2013 hyran [solo viola] commissioned by Stephen Upshaw 2013 the shape distance series, set [1-‐7] commissioned by Chamber Cartel 2013 black root [solo E flat clarinet] Markus Wenninger 2013 corpuscular theory of light [clarinet, soprano saxophone, xylophone]2013 oros [8 voices SSSAATBB] AudiJv Vokal2013 the dog and the wolf [picc., clar., tpt., Bsn., Db., Celesta, bass drum] We are wolfpack2013 invoco [soprano saxophone and bassoon] Poste Haste Reed Duo2013 through woods in riot [brass quartet] Meridian Brass
Membership and Affilia4ons
1993 – 1996 Member of the Skye and Lochalsh Arts Council.1995 – Member of the Performing Right Society.1995 – Member of Mechanical Copyright ProtecJon Society.1996 – Nominated to full membership of the Composers’ Guild of Great Britain.1996 – 2005 Board member for An Tuireann Arts Centre.1997 – ArJsJc Director for Skye and Lochalsh New Music FesJval.1998 – 2000 Vice Chairman for An Tuireann Arts Centre.1998 – 2003 Member of the BriJsh Academy of Composers and Songwriters.2000 – 2005 Chairman of the Board of Directors, An Tuireann Arts Centre.2006 – 2007 Board member – HI~Arts2007 – Advisor to the Board of An Tuireann Arts Centre2009 – Board member of PVA MediaLab, Bridport, Dorset2009 – 2012 Chair of PVA MediaLab, Bridport, Dorset2011 – Chair of Reach Dorset – therapuJc arts acJviJes for people with mental health issues. 2012 -‐ Chair DIVAcontemporary [arJst-‐led organisaJon commi>ed to creaJvity/experimentaJon in the arts
the shape distance [6] 24x28 inches oil on mounted board.
You can email Marc through the CONTACT page
To view Marc’s pain?ngs and drawings, please visit the GALLERY
For informa?on about forthcoming premieres, performances, events and news, please visit CONCERTS