Last week I travelled up to Orkney – not with Nordic Viola this time, but with the Royal Scottish National Orchestra for the St. Magnus Festival. Nevertheless, with our performance of Sagas and Seascapes at the Edinburgh Festival Fringe as part of the Made In Scotland Showcase just 2 months away, returning to Orkney a year after we filmed there was an emotional experience.
Passing the Old Man of Hoy which features in our film of Linda Buckley’s Aud and then rounding the corner of Hoy and seeing the mountains exactly as captured in Orla Steven’s painting to Elsewhen by Lillie Harris.
On Sunday I had time to travel to Rousay, a new island for me. The weather was wild, with gale force winds. I found myself wondering how Aud would have experienced this coastline back in the 9th century, what her emotions were as she passed the imposing cliffs on her way to a new life in Iceland.
Cycling on the south side of Rousay, we looked across Eynhallow sound towards the Broch of Gurness where Gemma McGregor reflected on the journey of St. Magnus to his death in Egilsay. The tidal races through the sound are famously fast, and we were treated to a view of them in full flow. Travelling back to Tingwall on the mainland, I saw St. Magnus’ Chruch on Egilsay for the first time. You can read more about the influence of Magnus’ story on Gemma McGregor over on our sister site, sagasandseascapes.com
I felt the ghosts of these ancient peoples all around me after working so intensively with Craig Sinclair over the last few weeks on new film for our first multimedia live performance of Sagas and Seascapes at the Scottish Storytelling Centre 15th-17th August. Book your tickets here. If you can’t make it to Edinburgh, we will also be screening it online on 18th August. Tickets are free here. The screening will be followed by a zoom Q and A with the composrs, artist Orla Stevens and myself.
Recital in Iceland
After briefly touching base, I’ll be travelling to Iceland for the first time since 2019 to perform in the Summer Concert Series at the beautiful Bláakirkjan in Seyđisfjörđur in the East Fjords on 6th July. I’m really looking forward to performing again with pianist Arnhildur Valgarđsdóttir in what I’m sure will be a special event. The last time I played in this gorgeous church with a wonderful acoustic was right at the start of my travels with Nordic Viola in 2016. Back then, I had no idea that Nordic Viola would grow into the project that it is now.
I’ve been enjoying repertoire new and old as I practise for the concert. I’ve been getting to know Jón Thorarinsson’s sonata, which was written originally for clarinet. It’s a delightful three-movement work, full of melody and some jaunty rhythms. Thorarinsson was actually born in Eiðar near Egilsstaðir, just up the road from Seyðisfjörður and a place I know very well!
On a much larger scale is Adrian Vernon Fish’s “Qaanaaq Sonata” inspired by the eponymous settlement in North Greenland. It’s a monumental work which challenges both players and moves from the starkness of the Arctic landscape, through a warm, lyrical melody ( melody is a real feature of Adrian’s music) and onto a wild and exhilarating dog-sled ride in a rather funky 13/8 rhythm. As I play, my thoughts will be with one of the driving forces in music education in Greenland, Per Rosing, who is currently in hospital in Denmark.
Whilst l’m in the East Fjords, I hope to have a few days’ holiday in Borgafjörđur Eystri on the north east coast and to catch up with friends in Egilsstađir.
I know many of you really enjoy following Nordic Viola’s trips to the Far North. It’s been a long hiatus and I hope you’ll enjoy hooking up with me and learning more about the music, cultures and landscapes of this most stunning and intriguing part of our beautiful planet. I can’t wait to travel North once more!
I am delighted and proud to announce that Nordic Viola’s Sagas and Seascapes has been selected as part of the Made In Scotland Showcase at Edinburgh Festival Fringe and we will be performing at the Scottish Storytelling Centre from 15th-17th August at 8:30pm. There will be also be an online screening of the film via the SSC website on 18th August at 7pm, followed by a Zoom Q and A with the principal creators on the project.
The programme also features music from the Faroes by Eli Tausen á Lava and Kári Bæk. Orla Stevens has produced new artwork to asccompany Eli’s Søgnin um Kópakonuna í 10 Myndum (The Tale of the Sealwoman in 10 Pictures) which will be seen for the first time at the Fringe.
Visit our sister site, https://www.sagasandseascapes.com/ to book tickets and for much more interesting content on the project. You can also sign up to the newsletter to keep abreast of all the news in the run-up to Edinburgh. Tickets can also be booked here
You can here excerpts from the music we’ll be performing here:
Back in 2016, Seyđisfjörđur in East Iceland was the first stop on my sabbatical. Chosen on the suggestion of friend and Iceland expert, Cathy Harlow because of it’s rich and varied cultural life, (and also for its direct services to the Faroe Islands, which I visited on the same trip) the people in the village welcomed me into their community. I gave short performances in the schools, masterclasses in nearby Egilsstađir and also performed in the magnificent Bláakirkjan (blue church) with local violist, Charles Ross. Bláakirkjan is the most iconic building in Seyđisfjörđur, its colourful blue and white facade standing at the end of the rainbow road. Inside, it is a bright and intimate space, built of wood and gently resonant.
I therefore can’t wait to return to Seyđisfjörđur to perform in the Bláakirkjan summer concert series on 6th July. The series has become one of the major cultural events in East Iceland. It offers a varied programme of music where you can see many of the country’s most interesting musicians as well as international artists. I’ll be performing with Arnhildur Valgarđsdóttir, who I also met in 2016 in Reykjavik. Adda trained in Scotland and currently works as a highly respected pianist, organist and choirmaster in Reykjavik. In fact, if you live in Central Scotland, you’ll be able to catch her on tour with her choir this August.
We’ll be taking our audience on a journey round the North Atlantic, starting in Orkney with Gemma McGregor’s Hardanger-fiddle-inspired “Joy” and Peter Maxwell Davies’ much-loved “Farewell to Stromness.”
After a reflective pause on our journey with Arvo Pärt’s “Spiegel im Spiegel”, we visit our host country with Jón Thorarinsson’s short viola sonata. Thorarinsson studied music at the Reykjavík Music School and with Paul Hindemith at Yale University. He was head teacher from 1947 to 1968 at the Reykjavík Music School, head of Sjónvarpi’s art and entertainment department from 1968 to 1979, as well as numerous other projects in the field of music. Full of character, this sonata shows off the singing tone of the viola with long, cantabile lines, a passionate, at times bleak second movement and a final Rondo with lively jazz rhythms.
Adrian Vernon Fish’s Qaanaaq Sonata is a much more substantial piece. It’s inspired by the main town of that name in the northern part of the Avannaata municipality in northwestern Greenland. Adrian and I share a love of Greenland and Adrian’s music depicts so much about life there: the beauty, but also the barrenness and harshness of the landscape, the warmth and humour of the people and the rollicking energy of a dogsled ride that Adrian was lucky enough to experience there.
That’ll be the end of our official programme, but we might just have a little treat from Shetland to throw in at the end, too.
Once the concert is over, I’m looking forward to exploring the hills around Seyđisfjörđur: the high mountain lakes and the streams of waterfalls tumbling down the valleys. The eerie green murk of the Lagarfljót up at Egilsstađir and the unique woodland along the lochside at Hallormsstaðaskógur Doubtless there’ll be more inspiration to be gathered there for future projects!
A creative music workshop for 10-14 year-olds exploring the sounds of the sea and its creatures! with Nordic Viola
We will explore the sounds of the sea and its environment using musical instruments, recorded animal and bird sounds and our own voices, and think about the effect humans have on wildlife in our seas.
The workshop will take place in the upstairs gallery at Weigh Ahead on Dunblane High Street.
In the morning we will learn a sea jig that we can perform outside Weigh Ahead as the Dunblane Road Race runners pass.
After a short lunch on the drying green, we will work together creatively on a short musical seascape.
No musical experience required, though please bring an instrument if you have one. We will provide simple instruments. Bring along something that could become sea waste – e.g. plastic bottle, twine, old plastic tubs/buckets.
Nordic Viola is grateful for support from Dunblane businesses Weigh Ahead, Green Clean and Allanview Windows and Doors Ltd whose generous donations are enabling us to offer this workshop free of charge. Voluntary donations will contribute to Nordic Viola’s performances at Edinburgh Festival Fringe this summer.
Our Crowdfunder has come to an end and I’m delighted to say that we surpassed our funding target.
A massive thank you to all of you who supported us. Your money really does make a difference: Orla Stevens will be able to work with composer Eli Tausen á Lava to produce new art for the project and our musicians will be properly supported with their rehearsal fees and with all their costs to get to Edinburgh paid.
The £200 over target will go towards a CD which we aim to produce in 2023 and will fund a musician for the day.
For those of you who chose a reward, these will be mailed out to you by 27th August at the latest. Before that, we hope that you will join us at one of our performances at the Scottish Storytelling Centre 15th-17th August at 8:30pm. For those of you who live further away, there will be an online screening of the programme via SSC’s website on 18th August at 7pm. This will be followed by a live Q and A with some of the artists involved via Zoom.
If you missed the Crowdfunder but would still like to help us, then pop over to our shop. You can either pay online via Paypal or, if you don’t have a paypal account, send me a message containing any products you would like to buy via the contact form and I can arrange payment with you.
Whilst our Crowdfunder is now closed, you may enjoy seeing some of the interviews and features with artists and composers on our video updates.
Thank you once again for all your support and please do pop over to our sister website to keep up to date on Sagas and Seascapes in the run-up to Edinburgh this summer.
We have some very exciting news for you today. Sagas and Seascapes will be going to Edinburgh Festival Fringe this summer for three performances from 15th-17th August at the Scottish Storytelling Centre on the Royal Mile. We will be part of a prestigious showcase of Scottish art, but I’ll save details of that for the official launch date of 31st May. Subscribe below to make sure we keep you up to date!
A chance to support us and collect some special rewards
Of course, more than anything, we hope you’ll be able to travel to Edinburgh to hear us play live in August, but we’d also like to invite you to play a key roll in our journey. We are running a crowdfunding campaign to raise £2000 between now and 2nd May to commission new art by Orla Stevens to accompany Eli Tausen’s wonderful Søgnin um Kópakonuna í 10 Myndum (The Tale of the Sealwoman in 10 Pictures) and also to support our musicians in rehearsal and for all the additional costs involved in taking 6 musicians through to Edinburgh.
We have a few exclusive gifts at all levels of donation. Everyone who donates will be mentioned in our programme for the event. We also have everything from merchandise to signed posters to give away. If you are able to support us with a larger sum, we have limited edition prints of the new artworks that Orla will produce for the show for you and the offer of an open rehearsal where you can meet our musicians. These higher value offers are limited, so jump in quickly!
At the corporate level, we can feature your business logo in our publicity and websites for £200. Or perhaps you’d like to see your own community benefit? For £500 we are able to offer an art/music workshop for the school or community group of your own choice.
I thought I’d just take a bit of time to tell you a little bit more about what to expect on the day in case you’re not sure whether to sign up.
Orla and I have spent the last year or so working on Nordic Viola’s Sagas and Seascapes project. We’ve become increasingly interested in how music influences art and vice versa. We also share a love of the outdoors, of northern landscapes in particular and the cultures that surround them and we want to share this with you.
Both of us have worked experimentally and are great believers in being able to express ourselves freely without worrying about “getting it right.” Our workshop will be very much exploratory, allowing you to paint and make sound in the way that expresses your feelings about being outdoors. We’ll encourage you to try both art and music. Orla got me drawing again after a 40 year break, because she gave me permission to work quickly and just draw what I felt without fear of judgement. If I can, you can!
For me, music is about so much more than playing the notes right. Even if you’ve never played an instrument, there are sounds all around you. You can make recordings and perhaps shape them into a soundscape, you can find objects lying around that create sound and you can use your own voice. Equally, if you want to write a good honest lyrical melody inspired by your surroundings, then that’s great, too.
We’ll aim to produce a graphic score and a short piece of music/sound art by the end of our day.
Our workshop is open to anyone aged 14 or over. It is fully accessible as even the outdoor part of the day has level access and parking. Just let us know in advance via Eventbrite or the contact form here, and we’ll arrange to meet you.
Tickets in advance from Eventbrite. Just 8 places left as of Monday, so sign up quickly!
I’ll leave you with a couple of short video clips where we talk about our work together.
I will be taking part in two workshops over the next month or so.
Soundwalk with The Bard of the Birds – 27th February 2pm – Online
The Soundwalk with the Bard of the Birds is part 2 of the Modern Chants project run by composer Ruta Vitkauskaite. Part 1 was an online concert in November where, following the many voices of the ancient goddess Cailleach, we ventured on a journey into the Gaelic and Old Norse imagery with poems by Dawn Wood. Music was by Ruta Vitkauskaite, Gemma McGregor, and Emily Doolittle and was inspired by winds, lochs, birds and bagpiping. You can hear some of the music in this playlist.
As spring emerges, The Bard of the Birds invites you to join her for a new music and storytelling experience where you will experience your surroundings in a new way.
Whether you live in the city or countryside, your days are beginning to grow longer as spring emerges and nature finds her way through cracks in the walls and pavements, and through sunlight and birdsong. It can be easy to miss these details.
The event starts on Zoom with an introduction from The Bard of the Birds. You will then be invited to take a walk (approx. 45 min) around your area. You don’t need to travel to any particular location. Indeed, if you feel more comfortable, you can even enjoy the soundwalk from inside your own home, looking through the window at the world outside.
On your walk, you will listen to a soundtrack featuring poems and stories by Dawn Wood, nature-inspired music by Ruta Vitkauskaite, Gemma McGregor, and Emily Doolittle, performed by clarinettist Joanna Nicholson and violist Katherine Wren with electronic sounds by Ellie Cherry and sound design by Chris Adams.
When you return from your walk, we will meet you back on Zoom and invite you to share your experiences with us.
Many of you will have seen the beautiful work that Orla Stevens created for Nordic Viola’s Sagas and Seascapes project. Working together has opened up many new avenues for both our work and we’re really excited to share with you some of the new ways of working that we’ve discovered.
We will be leading an art and music workshop in Aberfoyle in the beautiful Loch Lomond and Trossachs National Park, close to our homes.
We will spend the morning outdoors watching and listening to the nature around us. We will collect sounds and make sketches as well as looking for objects that we can use to draw and to create sound.
In the afternoon we will split into 2 groups working in turn with Katherine and Orla at the Memorial Hall, Aberfoyle. Katherine will explore ways of sounding the landscape using instruments, our voices, found objects and recorded sound. We will learn about the elements that make up music and about how these help us to structure sound.
Orla will lead the drawing element of the workshop, exploring intuitive and expressive approaches to sounds and landscapes using both found objects and traditional art materials to create artworks and graphic scores.
At the end of the afternoon we will come together to explore how we can use graphic scores (a visual alternative to reading musical notation) to explore how shape, colour and composition can inspire sounds, and vice versa, finishing with an informal group performance.
Age Range: age 14-adult
Experience: No prior experience required, but if you play an instrument, please bring it along. Art materials will be provided.
Tickets are selling fast, so log on to Eventbrite here to book your place.
A reflective post today looking back on the initial shock of the music world closing down in March 2020 and how, with a little bit of help from the RPS Enterprise Fund in association with Harriet’s Trust, Nordic Viola found new and exciting ways of working and of reaching our audiences around Scotland, the North Atlantic and beyond.
Entering the pandemic and a crash course in digital production
As covid began its grip on the world, Nordic Viola were just on the verge of travelling to Shetland for the University of the Highlands and Islands‘ “Histories and Herstories” Conference. I remember sitting on stage with the Royal Scottish National Orchestra as we entered lockdown wondering how my project, formed in travel, could ever survive such a thing. But musicians are resourceful people and our project was very quickly repurposed to become a digital concert for the Orkney International Science Festival instead.
But where to begin? I could make rudimentary recordings but I was clueless about video. Step in Creative Scotland who provided me with top notch support and encouraged me to aim high and work with a top quality video professional. And so began what would become a fruitful partnership with Craig Sinclair Video.
Me and my team of wonderful and resourceful musicians (violinists Emily Nenniger, Anne Bünemann and cellist Ruth Rowlands) swiftly learned to record in our own homes and Craig and I set about interviewing composers online before Craig offered us remote support to film our own performances which he then pieced together with stock footage of the North Atlantic region (filming his own footage being forbidden in lockdown!).
And so our first digital concert was born.
A world opens up
Very quickly I learned that, far from being the end of Nordic Viola, this was actually a new beginning. Touring abroad is an expensive business, environmentally as well as financially, but now we had a way of reaching audiences far and wide from the safety and comfort of our own homes. Not only that, but I had a way for the composers to speak directly to audiences, putting a face and a personality behind the music.
So far, so good, but using professionals for every short piece of video is an expensive business. I needed to learn how to make my own content, saving my financial resources for larger-scale performances, and I needed better equipment to do it. Step in the Royal Philharmonic Society Enterprise Fund. This amazing organisation exists to create opportunities for musicians to excel and champions the vital role that music plays in everybody’s lives. They are a relatively small organisation with a very big heart indeed. TheRPS Enterprise Fund offered individual performers and chamber music groups the means to strengthen and transform the extent of their creativity, connectivity, profile and revenue, encouraging us to think entrepreneurially.
Sagas and Seascapes
Following on from our first collaboration with Orkney International Science Festival, in 2021 we embarked on a much more ambitious project, Sagas and Seascapes. This project brought in many professionals from other fields and involved the creation of artwork for the project from Orla Stevens. Hedd Morfett-Jones and Simon Lowden from the RSNO recorded our performances in Glasgow and Craig was able to do his own filming on location in Orkney with me and the composers. It seemed the perfect project for me to take as a basis for developing my own technical skills.
The first part of my learning was to watch the professionals at work. I learned how Hedd ran a recording a session, how audio and video worked together and and picked Hedd and Craig’s brains about equipment and software.
On-location in Orkney, I happily handed over the reins of project management to Craig and watched how he pre-interviewed the composers, planned a shoot and managed the team on location.
Sagas and Seascapes was an ambitious programme and I learned a fair bit about people-management, too, as everything came together and deadlines needed to be met! After a week of working through the night, adrenaline was running high as Sags and Seascapes premiered at the science festival!
Meanwhile, my new microphones and audio interface were proving their worth. I was literally 24 hours away from performing live at the Scottish Awards for New Music when I got pinged! And so, as I awaited my PCR result, I got down to recording Eddie McGuire‘s Legend and Electra Perivolaris‘ Geese Flying Over My Head and into the Distance in audio and video. Without this equipment, I’d have lost a fee and left New Music Scotland with a gap to fill on very short notice. Thank you RPS!
Video Training Course
With the year’s big project in the bag, it was time to learn more formally from Craig how to produce my own small-scale video. Craig devised a 4-part course covering pre-production, filming, editing and distribution. Following an intense 4-hour online session where I learned how to identify the needs of my audience, plan my filming and interviewing and set up my camera properly, we moved onto the fun part – filming!
I wanted the session to produce something engaging and useful to myself and others, so we decided to invite our project artist, Orla Stevens, along, so that we could learn together and also produce a film that we could both use to publicise our work.
In the editing session, I learned so much about working quickly and efficiently with my material. I moved from randomly grabbing bits of material and putting it together in a haphazard way to learning to plan the shape of my video, gather together the material in advance and really tell a story. I also learned just how much B-Roll film you need to cover an interview – thanks to Craig for letting me use some of his Orkney footage and to Orla for filming the paintings! Baby steps, but I’m secretly very pleased with my first “proper” little film.
What I learned and where we go from here!
There were so many things I learned along the path from having absolutely no idea where to start with producing a video concert to taking on a project with the scope of Sagas and Seascapes and, finally, making my own tiny outdoor filming project and interview.
Here are my takeaways:
Record absolutely everything – you never know when you might need it!
Invest in quality equipment, especially microphones – it really does make a difference
For big, important digital projects, employ professionals – it’s worth the money
BUT don’t be afraid to try new things yourself – it’s fun, you learn a lot and make new connections
Share with your colleagues. Knowing I was part of a group of musicians handpicked by the RPS for their enterprising attitude was empowering and inspiring and gave me the confidence to go for it
Help others – I hope I can continue that sharing with my close colleagues, helping with equipment and sharing my experiences from working with such an amazing team of creative people.
And a few useful links for my Scottish colleagues in particular:
Craig Sinclair Video – first and foremost if you need someone to produce film for you, but also for some top-notch tuition and mentoring!
Sound Scotland – This innovative new music organisation does much to encourage creativity amongst musicians and also offers support and new opportunities through peer group meetings such as their fortnightly Cofveve sessions.
New Music Scotland – organisation supporting composers and performers working in New Music – training sessions, resources, a meeting point.
During the summer, Alex South (clarinet and electronics), Lesley Harrison (poet) and I performed “Whale Song” a programme of music and poetry by Lesley connected to the North Sea and North Atlantic at Arbroath 2020+1. I also performed “Birds and Landscapes of the North” alongside Gemma McGregor for Orkney Arts Society.
In October, Alex and I performed at Sound Festival in Aberdeen in works relating to North Atlantic coastlines by Irish composer Karen Power, Scottish composer Oliver Searle as well as our own works.
Taking place shortly before COP26, one of Sound’s focuses for this festival was that it should be a “no-fly” festival, so I took the opportunity to travel in the way I enjoy most, taking 3 days to cycle up to Aberdeen.
Finally, in November I worked together with Emily Doolittle on her graphic score, “Machair” in association with Ruta Vitkauskaite‘s “Modern Chants” project, which I will write about in more depth in a later blog.
The Edge – UHI
Following this block of work, it was an absolute pleasure to talk to some of these collaborators, Dr. Emily Doolittle, Dr. Lesley Harrison and Alex South about our work incorporating environmental sounds into our music, exploring music on the liminal edge between human and animal sound as well as the ethics behind using recorded natural sound and the respect that we should accord other species. The talk was presented as part of the University of the Highlands and Islands’ “The Edge” conference in December 2021 and you can watch it at the top of this page.