Posted in News on October 26th, 2016 by Nigel – Comments Off on `A Richer Dust’ shortlisted for the `British Composer Awards’
I am thrilled that `A Richer Dust’ Symphony No1. for Speaker and Wind Orchestra has been shortlisted in the 2016 British Academy of Songwriters, Composers and Authors (BASCA) `British Composer Awards’ in the Wind Band & Brass Band category. The premiere was given by conductor Reed Thomas and the Middle Tennessee State University Wind Ensemble, and the works UK premiere by WO1 Andrew Porter and HM Band of the Irish Guards, in London last November as part of the Festival of Remembrance weekend. Like everything I do, collaboration is at its heart, and I am very proud that my co-collaborator on this occasion, was the wonderful Danish author and writer Malene Sheppard Skærved. Using music and words, `A Richer Dust’ explores what it means to live with violence and extremism, the constant companions of human history. Congratulations to all those shortlisted. BASCA have done stirring work in recent years, helping focus attention on `composers’, the backroom boys and girls of the classical music industry.
A short extract from the last moment of `A Richer Dust’
“Using music and words, `A Richer Dust’ explores what it means to live with violence and extremism, the constant companions of human history. The intertwined text and music, ideas and images, weave together voices ranging from those of historically significant figures through to the voiceless, ordinary people living in extraordinary times”.
Posted in News on September 22nd, 2016 by Nigel – Comments Off on `Outrageous Fortune’ with Brett Baker (Trombone), Reed Thomas (Conductor) and the MTSU Wind Ensemble
Dr Brett Baker in rehearsal with Dr Reed Thomas & the MTSU Wind Ensemble
A big thank you, to the amazing Trombone soloists Brett Baker, Reed Thomas (Conductor) and the students of the Middle Tennessee State University Wind Ensemble for the wonderful premiere and recording of `Outrageous Fortune’, Symphony No 2 for Trombone Soloist, Actor & Wind Orchestra.
The professionalism of the staff and students at Middle Tennessee State University is second to none!
`Outrageous Fortune’ is a symphonic drama in the structure and sentiment of a traditional concerto. I have taken this approach from Hector Berlioz’ masterpiece Harold in Italy, Symphony in Four Parts with Viola Obbligato which illustrates how a soloist can be part of a larger symphonic work.
I have designed my Symphony Outrageous Fortune as a melancholic drama, bleak and sardonic in style. It follows programmatically the story of Shakespeare’s tragedy Hamlet. I have prefaced my score with the bard’s despairing words:
“Thus bad begins, and worse remains behind”.
Hamlet is a tale of conspiracy, betrayal, suicide, revenge and murder, and also a ghost story. Both the trombone soloist and the actor take on the role of the Prince of Denmark, Hamlet. Outrageous Fortune reflects the protagonist’s despair, his self-doubt and self-loathing and his advance towards mental breakdown. Hamlet’s character is full of bitterness, but alongside this he shows profound wisdom beyond his years.
Conductor Reed Thomas looking over Brett Bakers Trombone part
The Danish castle of Elsinore is the setting for the drama. I have set to music, two of Hamlet’s soliloquies:
“O that this too too sullied flesh would melt”
“To be, or not to be, that is the question”.
Hamlet’s first monologue sees him longing to be dead and contemplating his own suicide although he is concerned that the Almighty has forbidden this option by sacred law. The cause of Hamlet’s malady is his distress that his mother has just remarried following the death of his father (the former King), less than two months ago. His mother’s suitor is his father’s own brother, Hamlet’s uncle! Hamlet rails against the rashness of his mother’s actions without apparent concern for his father’s death:
“She married. O most wicked speed, to post – With such dexterity to incestuous sheets!”.
The second soliloquy “To be, or not to be – that is the question” finds Hamlet near to mental breakdown, grappling with the choice between killing himself, or living on to avenge his father’s murder? To kill himself brings uncertainty as no one has ever returned from the afterlife – who knows what suffering awaits there?
“But that the dread of something after death,
The undiscovered country, from whose bourn
No traveller returns – puzzles the will,
And makes us rather bear those ills we have,
Than fly to others that we know not of.
Thus conscience does make cowards of us all”.
Hamlet’s release from his dilemma, comes in the final act after he has avenged his father’s death, with his subsequent murder.
I have given Outrageous Fortune 15 scene-titles:
I. O that this too too solid flesh would melt
II. Something is rotten in the state of Denmark
III. The kettledrum and trumpet thus bray out
IV Alas, poor ghost
V. Revenge his foul and most unnatural murder!
VI. To be or not be
VII. Get thee to a nunnery
VIII. The Mousetrap
IX. What warlike noise is this
X. The King’s Jester
XI. Revenge should have no bounds
XII. Unbated and envenomed
XIII. Rapier and Danger
XIV. Now crack a noble heart
XV. The rest is silence
Here are some extracts taken from the first edit of our recording session as a tribute to Brett Baker, Reed Thomas and the MTSU Wind Ensemble. My voice can be heard on the recording and is only temporary until we replaced by an actor!
Posted in News on May 10th, 2016 by Nigel – Comments Off on Staying in Europe!!
As a composer I believe it is absolutely crucial for our country and our culture to remain in the EU.
I spend a lot of time travelling around Europe composing and making music with many organisations. I like to say that my first nationality is Musician, and only after that, am I European, British and English.
I recall that in 1986 the British Council sponsored me to attend a music summer school in Poland. It was extremely complicated to organise because of the need for documentation to enter what was then a Warsaw Pact country. Since then things have changed beyond recognition. These days it is quite normal to work across borders within a much larger territory of 28 member states. For example, a film company for which I worked was based in Amsterdam, with a German producer and Brit in charge of post production. There were many Dutch crew members, an award-winning German editor and me as a composer from the UK.
Another film saw me moving over a period of weeks from Luxembourg to Venice to Munich and ultimately when the score was finished we recorded it in London with the London Symphony Orchestra.
These are typical examples of cross border cooperation and the projects were considerably facilitated by freedom of movement, and undoubtedly the UK’s membership of the EU made their choice of using a UK composer and a UK orchestra much easier.
When I work and travel within the EU I know that my intellectual rights as a composer are protected by EU law; also, unlike when I go to the US, I never have to think once about health insurance, if I break my leg or fall ill, I can use the local hospital; and even outside the EU, I know I can go to any EU embassy for help and be represented in my own language.
When I studied at the Royal Academy of Music, the then Principal Sir David Lumsden found it fundamentally important that as students we should be exposed to artistic influences from across Europe and beyond – we should swap ideas, expand our friendships and get excited about great music and great art wherever it was to be found!! Today Erasmus (plus) makes this policy so much easier to achieve and leads to much enhanced mutual understanding. This would all be lost if we leave.
I’m sure Sir David would be proud to think that I, and others took his advice to heart. For instance, I became Composer in Association to the Belgian National Brass Band Champions, Brass Band Buizingen, and more recently I was Associate Composer to the Marine Band of the Royal Dutch Navy, probably the finest Wind Orchestra in Europe. In the latter case, when I asked politely whether it would be a problem for the Dutch military that I was British, the Officer in charge merely responded “We are all Europeans now!!”
To the Eurosceptics, who believe we will still be able to travel and work in EU after a Brexit, I say, we just don’t know and there will certainly be more hurdles to jump.
When you are not visible you risk being forgotten – there is only one possible advantage that I can see – being in splendid isolation, you are always the best, even if no one else is watching or listening!
I personally will be heart broken if we leave this extraordinary partnership that the EU represents. Not only for myself, but for the generations that follow.
Posted in News on April 11th, 2016 by Nigel – Comments Off on Today’s bit of Musical Fun with Harmen Vanhoorne
Here is today’s offering of musical fun(!) with Harmen Vanhoorne on Cornet – The result is a revamp of material from my concerto `Mysteries of the Horizon’ turned in to a work for Cornet/Trumpet & Sound Design – it’s new alter ego is entitled “The Exotic Dream of the Wonderful Monsieur Magritte”. Harmen gave the premiere performance of this work last month at the University of Minnesota, Duluth. I hope that René Magritte the inspiration for my concerto would have approved of my surrealist dream! Harmen plans to record this work professionally in the near future. There is also a solo version based on material from my concerto called “A Magritte Fantasy” which was recently premiered in Liverpool by Brendan Ball (Trumpet) .
“The Exotic Dream of the Wonderful Monsieur Magritte” for Trumpet & Sound Design.
Harmen Vanhoorne (Cornet)
Posted in News on April 9th, 2016 by Nigel – Comments Off on Kensington & Norwood Brass recent success in the 2016 Yamaha Australian National Band Championships
Congratulations to Conductor Mark Ford and Kensington & Norwood Brass in the 2016 Yamaha Australian National Band Championships with they claimed a noteworthy 5th place. The band’s own choice work was Nigel’s `Earthrise’. The competition was live streamed by www.brassbanned.com
NIGEL CLARKE studied composition at the Royal Academy of Music with Paul Patterson, winning the Josiah Parker Prize (adjudicated by Sir Michael Tippett) and the Academy’s highest distinction, the Queen’s Commendation for Excellence. Clarke was co-nominated in 2006 World Soundtrack Awards in the `Discovery of the Year' category. He gained his Doctor of Musical Arts from University of Salford. Nigel has previously held positions as Young Composer in Residence at the Hong Kong Academy for Performing Arts, Composition and Contemporary Music Tutor at the Royal Academy of Music, London, Head of Composition at the London College of Music and Media, visiting tutor at the Royal Northern College of Music, Associate Composer to the Black Dyke Band, Associate Composer to the Band of HM Grenadier Guards, Associate Composer to the Royal Military School of Music, Associate Composer to Brass Band Buizingen in Belgium and Composer-in-Residence to the Marinierskapel der Koninklijke Marine (Marine Band of the Royal Netherlands Navy). In 1997 Nigel joined the United States International Visitor Leadership Program sponsored by the US Information Agency. He is currently and Visiting Composer to Middle Tennessee State University Bands.