A Faroese double-header for you tonight. First of all, Søgnin um Kópakonuna í 10 Myndum (The Tale of the Sealwoman in 10 pictures) by young Faroese composer, Eli Tausen á Lava. This legend is shared all away around the western seaboard from the Celtic nations right the way to the Faroes and Iceland, with each country having its own distinctive twists to the tale.
Our artist Orla Stevens has also been creating new art for Eli’s music, which will be unveiled for the first time in Edinburgh.
Our second piece is by Kári Bæk, a more established name on the Faroese scene and a composer who we very much enjoyed working with as a trio in the Faroes back in 2018. Wogen was written originally for solo cello, but I loved it so much I asked Kári if I could make a transcription for viola. You can also hear a small excerpt in this video from Kári’s Vár Trio.
We’re looking forward to welcoming some of you to Edinburgh in 10 days or so. If you live too far away, don’t forget that there is also an online screening of Sagas and Seascapes followed by a zoom Q and A with composers Eli Tausen á Lava, Gemma McGregor and Lillie Harris as well as artist Orla Stevens and I. More info and a link to buy tickets over on sagasandseascapes.com/events
I first came across “Elsewhen” by Lillie Harris when she wrote it for the St. Magnus Composers’ course in 2017 and I knew straight away that I wanted to programme it with Nordic Viola. It is so evocative of the ancient monuments, and in particular of the Stones of Stenness, with its sense of mystery and eeriness. There’s something quite unsettling about the music or, as Orkney Arts Society put it, “There is edge here – edges, edginess, margins and menace under the surface.”
I’ll leave you with Lillie now to explain a little bit more about the piece, working alongside Orla Stevens on the art and, in general, about her collaboration with Nordic Viola.
Ancient sites are intriguing: they offer us amazement at the sheer age of artefacts, many mysteries of why things were that way, and the sense of a delicate thread connecting us now, to those people then. Our interactions with these relics helps us build an image of our past, but there is only so much we can learn from what remains – the rest is lost to time.
In ‘Elsewhen’ I have sought to capture the strangeness, wonder, and melancholy of objects and sites that exist out of time: they retain traces and memories of the past, but have outlived those for whom they were built, and have been left behind.
In the countdown to Sagas and Seascapes at the Fringe, each day this week I’m going to give you a short video introduction to each of the pieces in the programme.
First up is “Carry His Relics” by Gemma McGregor.
‘Carry His Relics’ describes the journey mentioned at the end of the Orkneyinga Saga when the followers of St Magnus carried his remains from Christkirk, Birsay along the coast to the capital town of Kirkjuvagr.
St Magnus is the patron saint of Orkney. He was murdered on 16th April, 1117. Twenty years after Magnus’ death, a farmer called Gunni, from the Orkney island of Westray, reported that Magnus had appeared to him in a dream and instructed him to tell Bishop William that he wanted his relics moved. Gunni reported his dream and permission was granted.
After the procession along the coast of Orkney, Magnus’ remains were interred at St Olaf’s Kirk, although they were later moved to St Magnus Cathedral. Many miracles had been reported by those who had prayed to St Magnus for help.
The joyful processional melodies make reference to both Magnus’ Viking culture and his Christian beliefs by using traditional Orcadian and Norwegian style music and by quoting from 12th century plainchants that may have been sung by the followers of Magnus.
The fifty-five mile long route taken by the pilgrims subsequently became a devotional walk but fell out of use centuries ago. The St Magnus Way was cleared and reopened in 2017 to mark the 900th anniversary of the martyrdom of St Magnus.