A concern with a fun factor (for the world premiere of Gravitational Waves 2016)
Iris ter Schiphorst on composing for young people
...In a truly 'galactic' project, all 164 members of the National Youth Orchestra of Great Britain performed under the direction of Edward Gardner in Iris ter Schiphorst's commissioned work Gravitational Waves - with a crowning finale at this year's BBC Proms in London: "a dazzling showpiece for the virtuoso youngsters" (The Times). We asked the composer about her experiences.
How did you experience the three concerts at the Aldeburgh Festival, in Birmingham and London?
The atmosphere in Aldeburgh was overwhelming. Even for the young people, it was surprising how spontaneously and euphorically the audience reacted. The beginning, which consisted solely of choreographed gestures, was very unusual for everyone. After the success, the orchestra focussed with verve on the concert in Birmingham. The Royal Albert Hall with 8,000 spectators and the unique Proms atmosphere was a further boost.
Did the task of writing for young people influence you with Gravitational Waves ?
Not in the sense of a reduced difficulty, because these young talents are professionals. But their spirit and charm were an inspiration. I designed the choreography with the masks and the use of the 'grooving' speaking voices especially for the NYO, and they had great fun with this impressively precise task. A girl from the orchestra even recorded the voice on the sampler.
What was the rehearsal atmosphere like?
We lived on the campus of the University of Birmingham. There was also an exciting exchange between rehearsals, for example at a discussion evening. The register rehearsals were very well prepared. There were questions about some unfamiliar playing techniques, but the atmosphere was very creative and constructive. My co-composer Uros Rojko also led a tutorial for young composers with Larry Goves.
Are there similar projects in Germany?
The Saxony State Youth Orchestra has already worked on my works Klangrätsel and An den Stränden der Ruhe . Here, too, there was intensive feedback from the young people: they really got stuck into the music and took a lot away from the performances.
Do you also work with amateurs?
Yes, I'm writing a choral piece for 'upgrade Donaueschingen' in 2017 - it will be performed by music school choirs from Baden-Wurttemberg. In Berlin, I co-directed the Querklang project for several years, where 'normal' pupils are introduced to contemporary music in an experimental way. And back in the 1980s, I realised projects with fellow artists in Kreuzberg schools, which was something completely new at the time.
Since then, there have been many initiatives for music education. How do you rate the sustainability?
I think you can honestly inspire young people with sounds that are initially unfamiliar to them. At the same time, however, it is important that cultural policy does not forget to support young composers and ensembles despite all the educational work.