Composer Focus - Jane O’Leary, Amanda Feery and Judith Ring
In advance of our final Salon Series concert on 17 November featuring performers Martin Johnson (cello) and Adele Johnson (viola), CMC asked composers Jane O’Leary, Amanda Feery and Judith Ring about their new works for cello and viola which will be premiered at this month’s Salon, as well exploring some of their artistic influences and thoughts on the Irish contemporary music landscape.
Tell us about your piece which will be premiered at CMC’s November Salon Series?
Jane O'Leary: Martin Johnson has always been a great supporter and champion of new music - I’ve written a number of pieces for him in duo combinations with other instruments (Only Gestures Remain for cello/piano and from hand to hand for cello and harp). He’s been playing with Concorde for many years too and we’ve all enjoyed his passion for exploring new music. So when he had the idea to create some new duos for cello and viola, of course I was delighted to be asked! There are so many wonderful sounds which can be made, using the fingers and bow in different ways. With this new piece as if one I enjoyed creating musical spaces where the music passes back and forth between the two instruments, imperceptibly, and we hear the same sounds in slightly different ways. It’s really a study in string sounds, and I’m looking forward to hearing what these two amazing musicians will do with it!
Amanda Feery: My piece for the November CMC Salon is called Square Movement. The piece is a result of a significant change in my work routine, which has gone from having an expanse of time in front of me to work on a piece; enough time to walk into walls, stare into space, and toy around with a compositional idea, to these very short, high intensity bursts of writing. The piece is made up of small blocks of disjointed musical material, composed weeks apart during a stolen hour here and there. Parts in the piece square up to each other rather than move seamlessly through time. The title is also a real dad-joke play on words as I am a total square these days and no craic because I'm working a lot.
Judith Ring: Swells and Shoots is based on the growth of vines/creepers and the way in which they twist, cling, weave, slide, swell and shoot off in different directions, seeking out something to cling to by slowly circling and feeling their way through space.
Are there any female artists in particular that have influenced your work or that you admire?
Jane O ‘Leary: I tend not to be conscious of who the artist is but to remain open-eared about music. However, I have found the work of female artists particularly appealing - maybe it’s just my personal taste! Among Irish composers, I admire the work of Judith Ring and Deirdre McKay, both of whom explore sound quality courageously. Going back into the past, I’m a huge admirer of Clara Schumann, who was first and foremost a pianist, but also showed great originality as a composer. In many ways her struggles as an artist have been inspirational to me. I admire Joan Trimble - the first Irish composer I could find when I arrived in Ireland over 40 years ago. She also suppressed her career as a composer while finding success as a pianist. In the USA, composer Joan Tower has inspired me - as founder of DaCapo Players, pianist, and superb composer. I loved her take on Copland’s famous work in an orchestral piece - Fanfare for the Uncommon Woman!
Amanda Feery: Many! Friends are fed up of me dropping Kate Bush into conversation I'd say, but she would be a huge influence on my work, as would Laurie Anderson. A lot of female writers, painters, and filmmakers have been the springboard of influence for older pieces - Dorothea Tanning, Virginia Woolf, Maya Deren... There are many Irish women in music that blow me away (including my partners on this concert) because they have their sound and ideas so tightly by the reins. There's a confidence, control and diversity that's inspiring.
Maya Deren
Judith Ring: There are many female artists that I admire in the world. To name one or two would be unfair to the others but I'll pick one at random from my music collection ... I'm liking to work of Sarah Kirkland Snider at the moment.
Do you feel there are enough opportunities for your work to be heard in the current contemporary music landscape?
Jane O ‘Leary: I suppose composers always want more - that’s our nature! But the current landscape for composers in Ireland is extremely healthy. There are many more adventurous performers than there were even a decade ago and I feel that a healthy relationship between composers and performers is essential to the growth of the art form. We can only learn from each other. There seem to be many opportunities nowadays for younger composers, but hopefully we’ll also value and cherish the work of those who have spent a lifetime learning their trade!
Amanda Feery: I have met so many brilliant and enthusiastic performers of new music over the last fews years. As long as that enthusiasm remains, composers will never be short of opportunities. I do think you have to work just as hard at getting your work performed as you would work on a piece though. I'm not sitting around in a huff waiting for a phone call or an email!
Judith Ring: I think a lot of the time you have to make your own opportunities and work hard to make your work known but there are a lot of options and support out there from groups like CMC, AIC and The Arts Council among others. There are also many calls for work and competitions around the world. It takes time and a lot of admin but if you put the work in the opportunities arise.