Aside from the sheer inspiration of visiting Greenland and the creative urge and sense of curiosity about cultures of the North Atlantic region, the other major impetus behind this project has been working with RSNO Alchemy and Peter Wiegold.
Working with artists from a range of cultures and genres, we have created music using a unique blend of written scores, one-page skeletal scores and free improvisation. It’s interesting listening to recordings of Alchemy at the distance of a couple of months: even as performer I can’t really determine where we were reading off a score and where we were improvising.
One of the frustrations for me is that a busy orchestral schedule leaves the group with precious little opportunity to get together and build on our improvisational work. I feel now that I want to spread my wings a little and see what I can produce under my own steam and also out in the rural environment where I am most happy and inspired, rather than the urban environment that I usually perform in.
I hope to create innovative short works for the solo viola plus other artists I encounter in the communities I am visiting. I’ve never really worked with electronic sound and, if I can, I would relish the chance to work with people such as Sellostina and the sound artists at Skálar in East Iceland.
Through a friend and colleague of mine, I hope to meet some of the range of musical talent in the Faroes. There is an astonishing amount of music produced in these small islands. listen to this from the RSNO’s own Davur juul Magnussen.
I hope to work with Arnannguaq Gerstrøm in Greenland. Greenlandic music is not well known in Western European music and this would open up new interpretations, blending with music from my home culture in Scotland.