KOMPOSIT is essential to the development of new music. Despite new technology no composer truly hears their music until it is played by the instruments it is intended for. Many composers are keen to work in a less ‘traditional’ way by composing for more unusual instrumentation using different musical influences to inform their work. But this makes it increasingly hard to visualise. There are also an increasing number of composers, coming from different musical backgrounds, who aren’t necessarily classical trained, who still have the need of an orchestra to realise their creations.
There are musicians, both professional and non-professional, who are
keen to take an active part in the development of new innovative
creations on the basis that this informs and develops their own musical
horizons. The musicians would also benefit from not only being on the
front line of new and innovative work but also by sitting alongside and
working with colleagues from different musical backgrounds.
This project is not intended to be a new collaboration between
musicians of different musical backgrounds. This has been done before
and is still being done to good effect. The major difference here is
the imposition of compositions from an outside third party, the
composer. Neither is this a group of amateur musicians set up to play
compositions from established composers. Again this has been done
before to good effect. The emphasis here is on new compositions and the
material will come from composers who may otherwise struggle to get
their music played. The composer would have the challenge of creating
new and exciting work for all or some of those musicians, hear it
rehearsed, make changes as they need to and then hear it performed as
it was intended to sound.
This is an interactive process from which all participants benefit. But
its overall effect is larger than that. It is anticipated that the
orchestra will develop a body of work for public performances thus
placing those new compositions in the public arena. The orchestra will
continue to develop after its initial set up year and funds will be
sort to finance its administration and artistic costs on an ongoing
basis.
Jo Freya 2009
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Last Updated ( Tuesday, 27 April 2010 )
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