Developing the Double Bass Concerto

Enno Senft, soloist in the world premiere of Dai Fujikura’s Double Bass Concerto on 5 November, talks about his close involvement in its composition.

Enno Senft and Dai Fujikura in rehearsal (image © Briony Campbell)

The Double Bass Concerto grew out of a close collaboration between Dai and I.  After  performing two of Dai’s  challenging ensemble pieces, Fifth Station and Blue Sky Falling, I was excited as well as daunted by the idea of him writing a bass concerto for me. We met at my house looking for inspiration for Dai’s creative mind. I first freely demonstrated the instrument’s more conventional characteristics- its timbre, resonance, harmonics, gentle dynamics, and colours in the middle register.  Then I moved to more experimental, extended techniques, for example treating the bass like a big guitar  (many taxi driver’s preferred description of the bass!), using arpeggio chords, fast tremolo and slap effects.

Dai’s lateral approach to the instrument encouraged me to get carried away with suggestions like changing the tuning of the instrument altogether, extreme tremolo effects on high treble harmonics (imitating an electric guitar) and playing both parts of the stopped string. I forgot in this process that Dai videoed all of this, but certainly remembered when the score of his first preliminary solo piece ES  landed on my music stand! This piece introduced many of the ideas that later became the material for the Double Bass Concerto.  Now I faced unprecedented technical challenges, partly brought about by myself!

Subsequently, we worked closely together to find realistic solutions which make musical sense and fit with Dai’s aesthetic language.  In some ways, the new techniques used in the Double Bass Concerto has meant that learning the concerto has been like learning a new instrument.

I believe that Dai has created a truly innovative concerto that tells its own story and well as realising the full potential of the solo double bass.

Enno Senft, London Sinfonietta Principal double bass

Click here to hear extracts of Enno and the London Sinfonietta rehearsing the Double Bass Concerto.

Insomnia, by Charlie Piper

Charlie Piper

On Saturday 5 November we’re presenting a feast of new music in Pavilions: New Music Show 2.  We caught up with Charlie Piper to hear more about his new work Insomniac, which you can hear at the event.

Your work Insomniac portrays several different forms of insomnia.  Can you tell us a little about the different states reflected in the music?
Insomniac has three movements. The first movement has a frantic feel and portrays the sort of insomnia caused by anxiety or stress when your mind can’t shut down and thoughts spin frustratingly round and round in your head. The middle movement is a much calmer portrayal of the surreal sensation when floating between sleep and wakefulness. And the last movement looks at the effects of external influences on the ability to sleep.

One of the common causes of insomnia is anxiety.  What single thing makes you most anxious?
Deadlines.

Whilst writing this composition, I believe you spent some time in Sweden.  Do you find that your surroundings affect your writing at all?
Absolutely. I was staying in Gotland, which is a small Swedish island and very serene and beautiful. My work studio looked out over the sea and so, when I wasn’t staring distractedly out the window, I was in a good calm state of mind to work. However that isn’t always ideal – if I’m trying to write frantic music it helps to be in my rail-side London flat! Also I was in Gotland during the summer and so I experienced, for the first time, all-night sunlight – which certainly doesn’t help with insomnia – but the extraordinary colour and iridescent glow over the sea was a big influence in the atmosphere of the middle movement of this work.

And what time of day do you find is the best to compose?
I usually give myself 9-to-5 business hours to compose (unless there is a deadline looming!) which helps me focus my energy but I think the morning is probably my most productive period.

Your programme note for Insomnia states that ‘the final movement is concerned with insomnia caused by other external influences – such as a neighbour having an all-night party’.  Describe your ideal party.
One that I haven’t had to organise…

And finally…Insomniacs are often told to play music to relax before trying to sleep.  What is your favourite piece of music to relax to?
Possibly the Aria from the Goldberg variations.

You can hear Insomnia on Saturday 5 November at Southbank Centre’s Queen Elizabeth Hall.  Click here to book tickets.

Dai Fujikura: 8 questions

Dai Fujikura’s Double Bass Concerto is one of the pieces receiving its world premiere during our Pavilions: New Music Show 2 on 5 November at Southbank Centre’s Queen Elizabeth Hall.  Find out what Dai worries about during concerts, where he has many of his compositional ideas and what he considers to be perfection.

Dai Fujikura

 

What do you fear the most and why?

“Will musicians play the actual notes I wrote at the concert?”…”What if someone collapses in the audience during my piece and unwittingly disrupts the performance?”…”What if a power cut happens during the performance, and all the monitors for observing the conductor also shut down, will the musicians still be able to see the conductor and play?” and so on….

I think I don’t need to explain why…

Which mobile number do you call the most?

I hardly call anyone, nor does anyone call me. If I decided to cancel my phone, I don’t think anyone would notice!

What ­or where­ is perfection?

If it is music, music which doesn’t have any bits I dislike.

A perfect world exists only in my imagination where nothing I dislike exists, which I try to recreate in my composition. In a way, that’s the reason why I compose music.

 Who is your favourite hero from fiction (book/comic/film/opera) ­ and why?

Right now? I don’t know….when I was a child, I guess Dragon Ball and all those heroes in Japanese comic books; I am sure any kids in Japan (who were born in late 70s) would say the same.

What’s your favourite ritual?

Taking a long bath where I write emails, sketch, read books etc., but also think. Almost all of my compositional ideas come from the bath. I can’t live in a flat without a bath.

What other talent or skill would you like to possess?

I never thought about it…. even musical talent (since your question is “OTHER talent” so I presume you think that I think I have some musical talent?), do I have a drop of it, or not, I never thought about it…..

I don’t know, I am ok, being like this; maybe this would not be ok for others, but I have always done and am doing everything I want to do in my life, so I don’t think I have any desire for an extra talent or skill in addition to what I have already.

What is the most important lesson life has taught you?

You can’t have everything, and it is always good not to set your expectations too high so that when something good does happen, however little it is, I will feel positive.

What is the most played piece of music on your MP3 player or in your CD collection?

Secret of the Beehive by David Sylvian.