Q & A with the Composer Lab 2023 Alumni
Participants in Composer Lab 2023 share personal insights from their experience of the programme. Composer Lab is a professional development initiative from the Contemporary Music Centre, the National Symphony Orchestra and RTÉ lyric FM offering composers an opportunity to develop their skills in writing for orchestra, leading to a new work for performance by the NSO.
Our special thanks to composers Daragh Black Hynes, Geoff Hannan, Tom Lane and Amy Rooney for sharing their thoughts on the programme for this feature.
All photos from the premiere performances of the Composer Lab 2023 works, courtesy of the National Sypmhony Orchestra.
What drew your interest in applying for Composer Lab 2023?
Daragh Black Hynes: The chance to compose for the NSO with a live broadcast on RTÉ lyric FM would entice most composers I think! I also hadn't composed anything for orchestra in a long time and was keen to apply, in an orchestral setting, some of the techniques and ideas I've explored in recent chamber works I've written.
Geoff Hannan: I had composed quite a lot of orchestral music and had heard none of it played. So I was really keen to hear what I had written to make sure that it worked practically and aesthetically in the way that I had envisaged. Composer Lab seemed the perfect opportunity for this to happen, and I knew that with David Fennessy’s mentorship there would be some ‘give’ if I made any miscalculations or mistakes.
Tom Lane: It was a fantastic opportunity to work with a professional full orchestra and an experienced mentor. It had been many years since I'd had the chance to compose anything for an orchestra and I really wanted to develop my orchestration technique.
Amy Rooney: The chance to work with the National Symphony Orchestra was an unmissable opportunity.
How did the experience develop your understanding of a symphony orchestra?
Amy Rooney: The experience taught me a lot about balance within the orchestra. I was able to work closely with the conductor and players to make sure important lines didn't become lost in the texture.
Daragh Black Hynes: I think that every time you compose a new work for any setting, from solo instruments to full orchestra, you develop your understanding of that instrument or ensemble and, as a result, your understanding of the artform itself. Symphony orchestra is a kind of special case, in that it involves composing for nearly all of the common instruments together, and the potential for experimentation with composite sounds, as well as the essentially abstract quality of such a large mass of instruments, has a certain unpredictability that makes the process completely unique from a compositional perspective. As such, composing for orchestra is always an incredibly valuable undertaking.
Were there any aspects of the experience which you found challenging?
Tom Lane: It can be hard to communicate with the conductor and the full orchestra during the rehearsals in the National Concert Hall as time is so precious. Due to the size of the hall and the ensemble I felt quite separate from the musicians in a way which was very different to my experience with chamber music and smaller ensembles. The help of mentor David Fennessy and conductor Gavin Maloney was invaluable to make the process work smoothly.
Geoff Hannan: Having responsibility for the sounds you are requiring so many musicians to produce was quite daunting! An orchestra is made up of people (not so much ‘instruments’) who want to make what you’ve written sound good within the purview of their own experience. I found it challenging to be respectful of that while being clear about what it was I was wanting. How far should you push players? Does it matter if you’re on the same page or not? These are questions that crop up when working with people, rather than abstractly at a computer or desk.
What advice would you give to future participants in the Composer Lab programme?
Daragh Black Hynes: There is great room for experimentation and the use of electronics in Composer Lab, so in short I would say to make the most of the opportunity.
Tom Lane: I would recommend using the initial workshop with the section principals to try new ideas, it's a great opportunity to experiment without the pressure of composing and rehearsing a full orchestral score.
Amy Rooney: Don't be afraid to ask questions! The players are fountains of knowledge and are so helpful in answering any queries put to them.
Geoff Hannan: I would say be not afraid! You’ve got the opportunity to write for some 80 musicians, so don’t pull back or play safe. Seize it!
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Composer Lab 2024 is open for applications until 5pm on Monday 15 January 2024. For more information on how to apply, visit CMC Opportunities here.
