Autumn has always a special time for me. The summer heat gives way to a softness with autumn mists and the first of the frosts. The nights lengthen and I enjoy that feeling of hygge, curled up with a book. The sound I associate more than any other with autumn here in Scotland is the geese arriving. In fact, I saw my first skein of geese of the year yesterday.
All these sensory experiences are more poignant since my sabbatical and none more so than the sound of migrating geese. I was staying in Fellabaer located across the Lagarfljót lake near Egilsstaðir in East Iceland, right where the geese were collecting to migrate south. Every morning I was woken in my tent by their noisy disputes. I found myself wondering who’d arrive back in Scotland first – them or me. Back home in early October, I remember stopping whilst I was on my bike to watch them land in a field near Flanders Moss, Stirlingshire. In my mind it was the Egilsstaðir geese following me home.
On the second anniversary of this wonderful experience we’ve just started rehearsing our latest commission, Anna Appleby‘s “Hrakningar”, which is a joint commission with Sound Festival in Aberdeen, Scotland.
Like Lillie Harris, from whom I commissioned “AND” for solo viola, I first met Anna on the RSNO’s “Composers’ Hub.” The new piece grew out of a half joke: Anna was in Reykjavik and posted a clip of geese honking away on Lake Tjörnin. Somebody challenged her to write a piece including them – to which I responded with something along the lines of “go on then – I’ll pay you”.
“Hrakningar” is composed for flute/viola/bassoon with an electronic soundtrack and Anna describes it like this:
Hrakningar is an Icelandic word used to describe being buffeted by a storm or wind, blown somewhere against your will, and is also used to refer to dangerous events that happen to a person.
Hrakningar juxtaposes the freedom of migrating birds with the prejudice that refugees face when seeking a better life. The piece incorporates calls from the species of geese that travel between Iceland and Scotland as part of their yearly cycle, including Pink-Footed Geese, Brant (or Brent) Geese and Greylag Geese. They arrive in Scotland in Autumn and leave for Iceland in Spring each year. Geese face harsh conditions when travelling but their journeys are accepted and often celebrated while humans are expected to conform to imposed boundaries and borders.
I don’t want to give the game away too much before the premiere but I am absolutely blown away by the way Anna integrates the geese in the introductory soundtrack with some really delicate timbres from the instruments, picking up on the harmonics in the birdsong. I can’t really do it justice in words, so why don’t you come and hear it for yourself if you’re anywhere near Aberdeen on 26th October? We’re in St Machar’s Cathedral at 1:10 and you can get further info and buy your tickets here.
In a concert exploring seasonality in the Far North, we’ll also be performing our other commissions, “AND” by Lillie Harris, which depicts a Shetland storm and “Ukioq” by Arnannguaq Gerstrøm, describing a Greenlandic Winter.
How incredible. Wish I could hear it. All the best!
Thanks Rebecca. If you can’t make it to Aberdeen on 26th October, then follow the blog – you never know, maybe you will get to hear it!