Church Bike Ride along the North Norfolk Coast

Today I took advantage of the opportunity to visit as many churches as possible on behalf of The Norfolk Churches Trust. Happily joining two chums we clocked up 40 km on our bikes and visited 10 churches. Our beautiful day with perfect weather conditions started at Cockthorpe on the chalk ridge just above Stiffkey with views to the marshes. 

The small compact Cockthorpe church is near Langham Dome were pilots were trained in a state of the art facility in WW2. 

We then took in Langham where the light streamed in through simple stained glass windows.

I particularly loved this distressed Rood Screen at the back of Langham Church.

We then rode down the hill from Langham with a perfect view of Blakeney point at high tide to Moreston church. Here I embarked on singing the first of my sacred arias. The steward liked this.

My chums Kate and Caroline were incredibly upbeat. It makes all the difference to have such lovely companions to share these great experiences. Here is Kate contemplating her mobile phone!

Then on to Blakeney which has a curious extra tower which may have been used to alert ships at sea. The church itself is somewhat ruined by a Victorian Rood screen which would be great to pull down. The steward rather ostentatiously called his church a cathedral which it is not! On to Wiveton with extraordinary views across the Glaven valley to Cley church which is nearly a cathedral since it was built by Norwich Cathedral's master builder and is proportionally much larger than a church.

 In Wiveton I sang 'Come unto him, all ye that labour" from Handel's Messiah since there was an inscription of the words from the gospel of Matthew on the wall. What was particularly fascinating was an artist's impressions of how the port of Cley would have looked at the height of the wool trade. 

Biking across the humped bridge over to Cley we saw the clearest water in the stream below. Cley church itself is deeply impressive.

The door is also grand.

In Cley church a painted lady hovered numinously on the high altar carpet.

The sun shone in through the high clear windows and the tress quivered in a light breeze outside.

I sang Bach's Agnus Dei from the B Minor mass.

The sheer vastness of the church conveys what an important statement it made.

There are many amazing stone carvings at Cley such as this musician with a drum.

 Also one of St George and the dragon. But it was this detail on the baptismal font that caught my eye.

We rode on to Salthouse down the back of Cley along Old Woman's Lane. The view from Salthouse church is to the North Sea. A few tasty snacks were picked up in the village shop and happily consumed on the green. Then we had a gruelling climb up to Salthosue heath back on the top of the chalk ridge that runs parallel to the Norfolk coast. I happily admit that I was reduced to pushing near the top!

We then wended our way back past Wiveton and up the river valley to Glandford which has Dutch style dwellings. Its gem is the most extraordinary shell museum which the verger of the church behind gladly opened up for us. I sang part of Delila's aria from Saen Saens; Sampson an Delilah since his cute baby girl was called Delilah.

The inside of the museum is a adorable and would be a great venue for a simple concert.

There is every kind of shell specimen you can imagine, this one caught my eye. 

Onwards we went on to the churches at Saxlington and Field Dalling where the sun shone joyfully through the stained glass windows.

But the best was left till last with the gorgeously situated ruined Benedictine Priory at Binham.

One can really imagine that this must have been a glorious spot for a monastery with its clear river and near access to the sea but shielded from its tempestuous rigours by the ever present chalk ridge rising behind. The inside is no less impressive with its tiered Saxon arches and beautiful acoustics. I sang Laschia Chio Pianga by Handel.

Finally our journey nearly complete we visited the Raw Milk Cafe and heartily consumed the most delicious ice cream.

From Opera To The Symphonic

The orchestra as a large canvas

I am totally in love with orchestral music. During my singing career I performed in some of the world's loveliest opera houses in mainland Europe with full orchestra. This became a powerful influencer. A peak experience was singing the mezzo solo in Mahler 3 at the Palais des Beaux Arts in Brussels. Standing centre stage in front of the orchestra was intoxicating. No wonder then that as a composer I eagerly wanted to compose for full orchestra. The opportunity was there for the taking since these years of European singing work blessed me with swathes of free time to compose. Opera rehearsals move at a glacial speed and performances are spaced out with many free days between. In addition, being away from home meant that I was free of domestic duties. However these long solitary sojourns in cities such as Strasbourg, Ghent and Vienna also me feel very lonely and the intensity of overwhelming grief sometimes led me to an abyss. My analyst supported me through these years with great friendliness, humour and a healthy dose of anarchy. Ultimately, though, it was because of our detailed discussions about music that I conceived of the idea of expressing all this emotion through music of a large scale worked through the canvas of an orchestra. Naively, fearlessly and hopefully over this course of 15 years I composed four symphonies.

 Ghent at night

Sir Peter Maxwell Davies: An unexpected composer of symphonies

Also during this period I attended advanced composition classes with Sir Peter Maxwell Davies at Dartington Summer school. Surprisingly he proved to be a champion of the concept of the symphony despite the fact that this terminology had been replaced in most 20th century works with evocative titles such as Atmosphères by Varèse, Grüppen by Stockhausen or Offertorium by Gubaidulina. However, Max believed that using the term symphony as an overall definition was valid. After all 'novel' is used as a generic term to encapsulate many forms of the written word so why not in a similar way use symphony? Perhaps the label was dropped because post-WW2 composers didn't wish to be confined to the straight jacket of traditional expectations. However a quick examination reveals that the vast body of symphonic works rarely conform to this either so I am with Max on this one. 

Stepping up to the covid crisis as a composer

For the last eight years I focussed on composing operas as part of my practice-based academic research. But now with the current restraint on live performances (performances of my opera Artemisia and my commission FAST for Spitalfields Festival are postponed), I feel inspired to release and re-visit the symphonic canvas that I so passionately engaged with during my singing years. The current crisis has inevitably led us all at times into dark tragic places. We all have a connection to someone who had been touched by a premature and often unnecessary CoVid death. It is pretty horrific and we continue to be confronted with deep uncertainty. On a personal level I feel the need during this period to explore the dark forces that drive mankind to ignore the value to all of creating a fairer society and dealing with climate change. Now unexpectedly with a totally free summer I have started sketches for The Red Book  or in effect a 5th symphony. The unexpected ignition for this project began a few weeks ago when the poet and psychologist Graham Mummery bought the CD of my 2nd symphony Memories, Dreams, Reflections. He very kindly reflected back to me such a deep understanding of what I had compositionally been trying to achieve that I felt the stirrings of wanting to re-engage with the symphonic medium. Since my latest private passion has been exploring the concept of active imagination in Jung's recently released magnum opus The Red Book I decided to use this subject as a starting point. More on that later, first I want to explain my symphonic approach so far.

Contemplating a return to symphonic composition 

Placing my work within the field of symphonic composition

Firstly I want to contextualise how I am influenced in my orchestral composition by the composers that have gone before and in particular Bruckner. The sheer vastness and complexity of emotional range in his symphonies reveals a vulnerable autobiography of nuanced eddies of hope and despair. Reflected is not only his personal life but a thread that connects his experience to all of us. In his 3rd symphony there is a hope that confidently intends to find the love of his life. However by symphonies 7 and 8 this optimism has transformed to resignation, stoicism and deep tragedy. Bruckner never found a wife, perhaps because his expectations were unrealistic. In some sense the grandiosity of the symphonies reveals Bruckner's lack of connection to reality and yet it is this very facet that evokes our deepest compassion for the Universal loss of high hopes. If you listen to the recent recording of Bernard Haitink at 90 conducting the Berlin Philharmonic in Bruckner 7 you can feel the pathos of composer and conductor. Languishing beneath the sensibility of intricate Viennesy counterpoint festers an overwhelming, unresolvable anguish. It is these difficulties that speak to our deepest humanity.  

Bernard Haitink conducts Bruckner 7 with the Berliner Philhamonic 2019 

On the titling of contemporary symphonic works
 

I already mentioned the fashionable titling of today's orchestral compositions to avoid using the term 'symphony'. This shift is also reflected by changes in subject matter which tend to focuss on external landscapes or events, such as Finnissy's Red Earth or Birtwistle's Earth Dances. Both are great works however in line with the ideas of symphonists I find myself drawn to reflect internal soulful landscapes through the medium of music. My predilection may be fuelled by composing opera which is the king of high drama, especially the expression of dark thoughts or as Jung would say, the bringing up of the shadow. Interestingly the drama of an opera is often most effective when it is manifested as a musical concept rather than solely relying on the voice. A good example of the power of the orchestra alone is in the transitional orchestral interlude leading from scene one to scene two in Wagner' Parsifal.

The beginning of the transition music leading into scene II of Wagner's Parsifal

Commissioning: The final frontier?

Now I can almost hear you at this point (if you are still reading) suggesting that to compose a symphony is a pretty unrealistic, even foolhardy activity, unless there is a commission or a performance involved. Indeed on numerous occasions my mother used to illuminate me of this harsh fact, call me stubborn but it never stopped me! Instead what if a work requires to exist in its own right? Should composers be a hostage to fortune and merely find themselves defined by what others, i.e. commissioners, allow them to compose? In contrast the highly individual composer Charles Ives freely created music letting the process lead him where it would. He resolved his income stream by selling insurance and we all know that Van Gough only ever sold one painting and that was to his brother. Speaking as a composer it feels as though now too much reverence and provenance is invested in commissioned work. At the time I began my symphonic quest I was well paid by opera houses as a singer so like Ives I was at liberty to take a risk. Fortunately getting my music played happened sooner than I expected as the middle movement of my 1st symphony Hokusai Says made it to the finals of a composing competition organised by Annegret Lang in Vienna. As a result South Wind at Clear Dawn was performed and recorded with soprano Eileen Hulse. The text was sourced from the Hui Ming Ching (book of Consciousness and Life) by Liu Hua-yang. 

The CD can be purchased from this link 

http://www.selfmademusic.co.uk/smmrecs.php

Click on the 5' video/audio link below to hear an extract of South Wind at Clear Dawn

https://vimeo.com/438857922

Memories, Dreams, Reflections

The success of South Wind at Clear Dawn led on to composing my 2nd symphony Memories, Dreams, Reflections which is also recorded by the Moravian Philharmonic, an orchestra that, amazingly, Mahler once conducted. Through it I explore the deep emotions that Jung encountered when he split with Freud over the efficacy of their psychoanalytic theories. Shortly afterwards Jung had a heart attack which resulted in a near death out-of-body experience which he describes in the chapter Visions in his autobiography Memories, Dreams, Reflections. This evocative event provided the back bone for the symphony which is furnished with text from Jung and one of his deep influencers, the ancient philosopher Lao Tzu. The poet and psychotherapist Graham Mummery recently commented on listening to the symphony 

"The Lao Tzu parts remind me of Mahler's versions of Li Po in "Das Lied", though you've both done something of your own there. And the ending of Jung's finding "this life is a segment of existence" has to end in something different to Mahler's "Ewig... ewig...." and yet still make the listener make his/her own leap,  which you succeed in facilitating in the work. " 

Click on the link below to see a 3' Video extract of 3rd Movement: Reflections 

https://vimeo.com/438846740

You can order the full A3 score or an A4 perusal score from this link 

https://composersedition.com/susannah-self-memories-dreams-reflections/

The CD can be purchased from this link 

http://www.selfmademusic.co.uk/smmrecs.php

The Red Book

My intended new work The Red Book is again inspired by Jung, this time via his extraordinary cosmic writings which were only released by his estate in 2009. The giant facsimile is a wonder of publishing. In reality the real Red Book which I saw in Zurich some years ago is much smaller. However the overseer of the publication Sonu Shamdasani felt that it was such a magnum opus that when it is opened it should create an event or ceremony like opening a rare ancient bible. I have heard that people construct lecturns and create altars on which to place it.  

 Lament of the Dead

Held within The Red Book are Jung's deepest musings which are beautifully written out in neat calligraphy. This gives the work a gravitas reminiscent of monastic times. The metaphorical weight of the dense text sometimes gives way unexpectedly to abstract images which refer to mandalas or drawings in the round. The impact of these series of transforming images is sometimes so mind-blowing as to make me feel dizzy. This is a book which is not to be opened lightly as at its core is a radical idea that suggests that for mankind to really thrive psychically we need to engage with the whole history and culture of the dead.

An Internal Conversation 

The concepts behind Jung's momentous tome are discussed with a great deal of insight in a series of conversations between the famous American Psychologist James Hillman and Sonu Shamdasani who collated The Red Book. The relevance of these conversations are even more heightened because at the time Hillman knew he was approaching the end of his life. Hillman believed that the practice of psychology needs to change the World rather than solely focus on people's inner lives. This viewpoint in many ways coincides with The Red Book which features very little of what Hillman would describe as mummy and daddy issues, i.e. personal stuff. His concept of facing up to human sociological difficulties rather than personal pathologies resonates with what I see as the key issue of our current pandemic and World environmental crisis.

Segmentation and Focus

My orchestral work will explore only a segment of The Red Book. Using a slice of the cake approach is similar to the method I used to create my opera The Butt  based on a novel by Will Self. The Red Book is so densely packed that eventually I may make an extended series of works to follow, however for the moment I am resolved to merely engage with a segment. I am inspired by Stockhausen's idea of creating a gesamstkunstwerk such as his  Donnerstag aus Licht. For my 5th Symphony I will source material from the Liber Secundus  of The Red Book which in particular expresses Jung’s soul-searching through the imagery of an egg. Subjects in this section include:

Flood

The Desert

Descent into Hell in The Future

Murder of The Hero

Mysterium Encounter 

The Red One

The Castle in The Forest

Death 

The Opening of The Egg

"This was the night on which all dams broke" Jung: The Red Book, p.299. 

Much more I cannot say as the work now needs to be released and treated to a variety of my compositional processes which could be compared to an alchemical process in the sense that extraordinary and unexpected departures will occur. Also my methodology has changed considerably since I undertook advanced supervision with amazing composers such as Jeremy Thurlow and Richard Causton at Cambridge and Professor Joe Cutler, Dr Elizabeth Kelly, Errollyn Wallen MBE, Richard Ayres and Howard Skempton in Birmingham. Eight years have passed since I last composed for full orchestra so to prepare for re-entry I am undertaking a series pf provisional compositional exercises to generate mood-scapes and textures. I want to impregnate the compositional process with 5 using quintuplets and distorted cycles of fifths. It is fascinating how this number appears in nature such as in this exquisite patterned figure on a sand dollar which a friend gave me that she found on a beach in California.  

Exploring entrepreneurial methods to manifest the new symphony

To conclude as a composer I feel it is sometimes necessary for a composer to follow their own creativity, there is no better time for this than now. I would love to have an official commission to compose the Red Book but I am not going to let the lack of one stop me. You can call me crazy but Goethe's statement that "Boldness has greatness in it, do it now!" resonates. I could never have imagined that already nearly two of my symphonies would be so beautifully played and recorded. If this project interests you you can support it by buying one of my paintings (see below) in The Red Book series. Here are the first two paintings. Red Book: 4 x 4 ft oil on canvas , £1,000 and Field: 2 x 6 ft oil on canvas , £1,000. You can buy them from the following link. http://www.selfmademusic.co.uk/smmart.php 

   

T

Composer as Responder to Current Events

Revisiting Quilt Song

In response to current events I have returned to the reasons behind creating my opera Quilt Song which premièred at The Birmingham Old Rep two years ago. This is because some colleagues on social media have suggested that words are empty gestures when not backed up by action. 

'A wind blows in the night' from Quilt Song

So what can I or have I done that shows I am prepared to put myself on the line? As an artist I have a unique opportunity to create work that conveys empathy and a call to action. I have always felt that socially reflective opera can be incredibly powerful and uplifting such as Shostakovich's Lady Macbeth of Mtsensk which reveals the rot in the society of his time or Mozart's Marriage of Figaro which addresses the heinous tradition of the droit du seigneur when a count was allowed to have sex with a maid as his right before she got married. In both operas the oppressed win over fascism and I believe that the passion of a composer's ethical conviction can lead to creating transformative music. 

As a composer I want to create socially interactive operas that respond to the issues generated by current events. However issues raised are often better examined through similar past events than current ones. This is because of the ethics of not wanting to exploit people involved in a current tragedy. In addition I am always looking to present powerful female leads since the body of new operas are still unable to provide this. With all of this mind it occurred to me a few years back that Rosa Parks, who refused to move on a bus for white people in USA in 1965, would be an incredibly moving protagonist. Her non-violent action resulted in a bus boycott for a year and inspired Martin Luther King Junior to action. When Rosa refused to move on this bus she said that she felt like she wanted to cover herself with a quilt like you would on a winter's night. Her words led me to an 'ah ha' moment so that the opera's title became Quilt Song. 

Rosa Parks when she was arrested

I then went on to employ a methodology of composition and integration of stories and actions that drew on the principles of quilting as inspired by Rosa's quote. This meant that many contrasting facets could be held together in the grid of a quilt. Therefore the symbol of a quilt showed that diverse elements collected together can enhance and co-exist. This went on to become metaphor to describe the positive facets of a diverse society.   

The dress that Rosa Parks was working on in the bus when she was arrested

In addition to featuring Rosa Parks I was at the time incredibly shocked over the death of the MP Jo Cox. It was terrible that her assassin's action was driven by racist ideas illogically connected to Brexit. I decided to allude to her situation in Quilt Song through the character of The Muse. I specifically chose not to directly represent Jo as I felt it was too soon after the tragedy to be ethical.

The murder of The Muse in Quilt Song

At her parliamentary maiden speech Jo Cox said "We have more in common than that which divides us". Her words, alongside Rosa Parks' refusal to move, became the backbone of Quilt Song. They sing together about their call to action at the end of Rosa's bus scene. This blending of the characters' separate stories is one of the key features available within the form of opera because it has the ability to feature different time frames simultaneously in music.

 Jo Cox

Rosa Parks and Jo Cox as two profound freedom fighters are contextualised within Quilt Song's dramatic framework by being grounded in the play Abraham Lincoln, written by the Birmingham-based playwright John Drinkwater in 1918. As a secret pacifist the play's subject provided a vehicle for Drinkwater's outpouring of grief at the futility of WW1. Through Abraham Lincoln's actions and his quest to stamp out slavery he established hope for a better world. Unexpectedly the play was a big success in Birmingham, eventually transferring to London and touring to the USA. Perhaps this was because the atrocities of WW1 left everyone hoping for human kindness. The humble but decisive of character of Lincoln captured the zeitgeist. 

Abraham Lincoln

Through a synchronistic twist I found myself in 2016 with a three-year stipend to carry out my practice-based research as a composer at The Royal Birmingham Conservatoire. The 1918 centenary of the first performance of the Abraham Lincoln play in Birmingham was looming. I intimately knew about this and the reasons behind its content because Drinkwater is my grandfather. The secret of his pacifism was only ever shared orally within my family because to be honest I think some felt ashamed. In WW1 pacifists could be sent to prison or even executed. As I reflected on the play I found myself empathising with this grandfather whom I had never met (he died when my Mum was only 8). I felt his deep grief over war and his specific horror at slavery. Incrementally as I explored related subjects I became appalled to see that racism especially in USA is still rampant. Lincoln's legacy has in many respects largely failed. I am politically active however the only way I know to make an impact is as an artist so I decided to create an opera about freedom fighters.

John Drinkwater (right) with James Joyce

My doubts about my own motivations led me to create a scene in Quilt Song when The Poet shares his concerns with Rosa about whether it is ethical for him to write a play about slavery. She responds by saying that he was right to reveal the brutality of slavery to everyone. The text for this scene was originally spoken in the Drinkwater play between Abraham Lincoln and Custis, a slave who comes to thank him for abolishing slavery. It makes me shudder to realise that this was not the end of the story but only the start of a continuing battle.   

The Poet and Rosa Parks in Quilt Song 

By interfacing Rosa's story with Jo Cox's story I further wanted to enhance the message that actions speak louder than words and that standing against racism needs to be done by people of all races. When I asked the soprano Maureen Brathwaite to play Rosa she said that her heart 'missed a beat' because she had wanted all her life to sing the role of a heroic black woman. There are hardly any such roles in new opera although we can clearly see that there are many contemporary role models to choose from. I feel that I was brave to chose this subject. However I was compelled to engage on this level because the communities that I worked with in Birmingham wanted tough stories to be presented as long as they contained a feeling of upbeat hope. 

Maureen Brathwaite as Rosa Parks

My practice-based research aims to reach out to broader communities, therefore the overall message of Quilt Song became that we can celebrate diversity like differing materials held together by the structure of a quilt. 

I believe that the content of Quilt Song is needed now more than ever and I am hoping to find other companies to stage it. This video link gives a 5 minute overview of the production of Quilt Song at The Birmingham Old Rep in 2018.

https://vimeo.com/300727882 

On this second 3 minute video the backing track is from one song "This is not a game". The lyrics were created with students at The Birmingham Ormiston Academy who were inspired by the upbeat message of Olympic gold medalist Carl Lewis. 

https://vimeo.com/426205344

Carl Lewis


The vocal score of Quilt Song can be ordered via
https://composersedition.com/composers/susannahself

In the Flow

A meditation on composing while doing nothing

             Everybody has a song which is no song at all: it is a process of singing, and when you sing, you are where you are. All I know about method is that when I am not working I sometimes think I know something, but when I am working, it is quite clear that I know nothing. 

John Cage (Larson, 2012: 239)

As a composer of opera I work with the complex interface between music and image. It is difficult to tell a story without being too oblique or too obvious. Often abstract concepts work better from a composing point of view. Over-clarity of story telling has the ability to create banality. Therefore as a syncretic medium, opera lends itself to making connections between unclear complexities. These can then be expressed in non-verbally reasoned ways though music, sound and image. The result can subliminally allow us as audience to draw on the unexplored depths of our imagination. 

During my doctoral research I developed a compositional methodology called quilting. From quilting flowed many compositional possibilities which I continue to develop since I completed my research Opera Quilt Song. In particular materials can be organically developed, cross-related, juxtaposed, jumbled up and transformed. Resonances with this approach can be seen via the iconic artist Robert Rauschenberg's art practice in which he observes

            Objects not only suggest new possibilities - they also set up resistances that I find very useful.

(Rauschenberg, 2017: 235) 

During lockdown I am allowing myself to engage with a state of creative unwrapping so that  I specifically choose not to seek a goal, purpose or result. I am opening myself up to infinite space and time. I have long dreamed of an extended residency that was similar to a Tibetan Buddhist retreat where a meditative state is engaged with for up to 5 years. During my retreat which contain operatic elements but which are also reflective, enlivening, provocative and meditative. This practice is an extension of the installations that I created for Quilt Song. These worked in contrast to the clearly drawn story-telling scenes so that their abstraction could allow for reflection. It is now the quality of the abstract internal that I feel drawn to develop. 

My inspiration comes from an eclectic range of installation artists like Ed Kienholz, Nancy Reddich, Robert Lepage, Bill Viola and Zimoun. Their use of visual objects is then connected to the philosophical aural by my fascination with John Cage. In particular I am drawn to Cage's interest in Zen Buddism. This quality then cross-hatches with my interest in compositional minimalism. In particular I admire Steve Reich's Eight Lines which dances with nuanced eddies of cross-rhythms and John Adam's formative work Light over Water which, created with synthesisers, achieves a minimalist purity that his later orchestral works move away from. 

John Cage was also instrumental in making me comfortable and in tune with new technology. His playful yet disciplined approach to objects of twentieth-century life like radios, loudspeakers, microphones, tape-recorders and even computers had for me the effect of empowerment. He gave me the courage to see technology as fertile terrain for creativity. 

(Adams, quoted in Farrar, Straus and Giroux, 2008: 20–24) 

Click on the link to see In the Flow 10'

https://vimeo.com/418601147

In The Flow grew out of the concept of 'the infinitude of dust', as explained by the Zen Buddhist Suzuki who greatly influenced Cage.

              Existentially viewed, every particular object, technically called "particle of dust": (anuraja), contains in  it the whole Dharmadhatu [pure Mind realm].                                                               Suzuki (Larson, 2012: 249 ) 

In addition Cage's work with the dancer Merce Cunningham promoted the idea that works of composition and choreography have permission to be chaotic and driven by chance impulses. The choreographer Jonathan Burrows goes on to contextualise this concept by saying:

When a piece makes sense to us it appears to reach a point where we would accept anything that happens. The continuity of unfolding objects has set up a series of clues which teach us how to read, anticipate, recognise and be surprised by what follows.

(Burrows, 2010: 37)

For In the Flow I actively disrupt synthetic set patterns available within the programmes of Logic Pro. Starting with interlacing bells a Zen-like stasis is set up of cascading cross rhythms which are generated by the plug-in Zen Garden. The video simultaneously features close-ups of lily pads and reeds in water. Dancing on, and in, the water are tiny insects and refracted light. Using a negative visual filter I reflect the pulsating dance of the light on the water with disrupted cross rhythms using the plug-in Splatter Cycles. These morph into further complexities using the gorgeously named Gnarly Trance Pluck. The video intensifies its colours to a numinous rippling pink. Transformation of sound then arrives with Quantiser Patterns, Celestial Voices and me panting shamanically into the microphone. This new raw energy is reflected in dynamic footage of rolling waves which culminate aurally in a cascade of Splatter Cycles. From this energetic movement emerges the solemn Studio Strings who play the tones embodied in the work so far. Now the installation becomes a deep reflective meditation as the orange filtered images of the encroaching tide slowly fade out.

Bibliography

Adams, J. (2008) Hallelujah Junction: Composing an American Life. New York: Farrar, Straus and Giroux.

Burrows, J. (2010) A Choreographers Handbook. London: Routledge.

Kienholz, E. and Reddin, N. (2002) The Hoerengracht. New York: Pace Wildenstein.

Larson, K. (2012) Where the Heart Beats. New York: The Penguin Press.

Rauschenberg, R. (2017) Exhibition catalogue. London: Tate Publishing.

Reich, S. (2002) Writings on Music, 1965-2000. New York/Oxford: Oxford University Press.

Self, S. (2018) Quilt Song [opera]. London: Composers Edition.

Discography

Adams, J. (1986) Shaker Loops; Light over water [CD]. Eindhoven: (Philips NA014CD).

Lepage, R. (2010) “Tristan and Isolde” – Behind the Scenes. https://www.youtube.com/watch?v=AJYN4gSwaaw&list=PL1FD0A02114471FC2&index=34

[accessed 6^th September, 2017]  

Zimoun (n.d.) website http://www.zimoun.net

[accessed 29^th October, 2016]