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.

Writing the Future: The Final Countdown

Next week sees our Writing the Future composers meet with London Sinfonietta Principal Players in their final workshop as part of the scheme.  Michael Duffy, who has been following the composers’ progress throughout the scheme, gives us a taste of what’s to come…

I last saw the Writing the Future composers in early August with, what were then, preliminary sketches and drafts of what are shaping up to be four fantastic quintets to be performed by some of the London Sinfonietta’s forces as part of our Pavilions: New Music Show 2 on 5 November.  Shiva Feshareki, Edmund Finnis, Tim Hodgkinson and Isambard Khroustaliov were asked to continue on the programme following the performance of their solo works at our Pavilions concert in May this year, where they were amazingly well received. Now, the composers are refining new ensemble works for flute, clarinet, horn, violin and cello (with a few familial deviations here and there!).

Tim Hodgkinson works with London Sinfonietta principal Michael Thompson

Next week they’ll be meeting the players again to workshop near-complete versions of these works. As always with these four composers I’m excited to hear how their work has developed and to listen in on the insight the players receive about what’s going on ‘behind the notes’. It’s also great to hear the feedback on the music from the players as well!

I’ll be posting again after we’ve had the workshops to give a further update on these new pieces, but in the meantime, check out some of the Music Streams on the London Sinfonietta website for solo works from Tim, Edmund and Shiva. And don’t forget to book for the world premieres of these works at Pavilions: New Music Show 2 on Saturday 5 November at the Southbank Centre!

Michael Duffy

Assistant Producer, Creative Projects