Sagas and Seascapes goes to Edinburgh – and a chance to help us on our journey!

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!

Live performance, art and more

For the very first time, we will be combining live musical performance of works by Gemma McGregor, Lillie Harris, Eli Tausen á Lava, Kári Bæk, Linda Buckley and the Danish String Quartet‘s wonderful arragement of “The Dromer” with Orla Steven’s specially commissioned art on screen alongside the music. There’ll be footage of Orla creating the paintings as well as film shot on location in Orkney by Craig Sinclair. The composers offer personal insights into their music as they converse together in Orkney at sights that inspired their music.

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.

Rewards

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.

We really hope you can join in with us in this very personal way, and we look forward to meeting with you as we share our journey to Edinburgh together. Pledges can be made at: https://www.crowdfunder.co.uk/p/sagas-and-seascapes-at-edinburgh-festival-fringe-1

Concert in Kirkwall Orkney

Nordic Viola concert at King Street Halls.16/11/18 Tom O'Brien
Anne Bünemann, Katherine Wren and Peter Hunt

Concert day in Kirkwall dawned bright and clear. A morning at Scapa Beach was enjoyed by all before heading down to King Street Halls. It was an absolute pleasure to play in the wonderful acoustic of this beautifully converted building, which works equally well as a church and a concert venue.

The first half of the concert featured music by composers from Orkney (Gemma McGregor, Fiona Driver), Shetland (Margaret Robertson) and the Faroes (Kári Bæk) as well as music about these islands by British composers Lillie Harris, Judith Weir and Adrian Vernon Fish.

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We have so enjoyed playing Gemma’s “Betrayal” (click on the link to listen). It is such passionate music, vividly portraying the conflicting emotions of St. Magnus as he contemplates his betrayal and eventual death. “Yellow Gorse” was a last minute addition but it is such a beautiful tune and suits the viola so well that it had to go in the programme.

It was the perfect foil to Lillie Harris’ tempestuous piece “AND”, which depicts the full force of a Shetland storm. Nice to play this in Orkney exactly two years since it received its premiere in Shetland.

Another Orkney/Shetland connection came in the pairing of “Weird Tune” and “Shaela”. Margaret and Fiona share the same fiddle teacher. Having got to know Margaret well, it was great to finally meet Fiona at the concert. We got to share ome tunes later in the weekend, too.

Meeting people and sharing stories of the North Atlantic is a vital part of the Nordic Viola project and all the musicians enjoyed meeting the audience in the interval, learning more about the region and talking about people we knew (Kristian Blak’s name always crops up). I’ve a lot of stories and music to follow up on now I’m home, particularly regarding the sharing of fiddle tunes on the old whaling trips up to Greenland.

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Greenland and Iceland were the focus for the second half of the concert with                      Þorkell Sigurbjörnsson’s wonderfully attractive arrangements of Icelandic folk songs, Fiðlufrænkur. We had hoped to premiere the whole of Adrian Vernon Fish’s “Sermitsiaq” Trio, which depicts the eponymous mountain in Greenland. Sadly a late and unavoidable change of cellist meant we only performed the Finale, but it’s given us a real taste for the piece and we will perform the whole work soon!  

Arnannguaq Gerstrøm’s joyful depiction of winter in Greenland, “Ukioq”, composed for us in 2017 was the cue for some dance music to end the programme. Both Greenland and Orkney have many polkas, so we played a Greenland set and then ended the concert with the famous  Orkney polka, “Maggie Watson’s Farewell to Blackhammer.”

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Joining me for Nordic Viola in Orkney were Gemma McGregor (flute and piano), Anne Bünemann (violin) and Peter Hunt (cello).

 

 

We are very grateful for the support of the following organisations who enabled us to put on this concert in Orkney:

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Nordic Viola plays Orkney, November 2018

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Supported by the National Lottery through Creative Scotland

Following our successful tour of the Faroe Islands in July Nordic Viola is excited to announce that we will be travelling to Orkney in November.

Concert King Street Halls, Kirkwall 7:30pm

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The main event of the week will be a concert for string trio in which we will be joined by Orkney composer and flautist, Gemma McGregor.

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Our programme will feature Gemma’s intensely passionate string trio, “Betrayal”, drawn from her opera “The Story of Magnus Erlendsson”, which was premiered at the St. Magnus Festival in 2017.

We will also play traditional music by Orkney fiddler Fiona Driver alongside that of her friend and colleague Margaret Robertson from Shetland. A few other traditional Orkney tunes will creep into our programme, alongside folk music from Greenland.

Lillie Harris’ piece AND shows us Shetland in stormy mood, with Adrian Vernon Fish’s Uyeasound Nocturne depicting the calm after the storm.

 

Iceland and Greenland

cropped-dscn3777.jpgThe second half of our concert features music from and about Iceland and Greenland. We start with Sigurbjörnsson’s delightful arrangements of Icelandic folk tunes, “Fiðlufrænkur.”

This is followed by the Finale from Adrian Vernon Fish’s string trio, “Sermitsiaq”, which describes the iconic mountain of the same name that towers over Nuuk, Greenland’s capital. I know from my own long stay in Nuuk that this mountain’s moods are many and varied: by turns a benign guardian of the city or an imposing monolithic presence. Adrian depicts this perfectly with a lively fugue before the piece ends in quiet, reflective tones.

We end the programme with Arnannguaq Gerstrøm’s engagingly beautiful description of winter in the Far North, “Ukioq”. We were lucky enough to have Arnannguaq join us in Glasgow earlier this year when the piece was premiered in the RSNO Chamber Series and she shared many stories with the musicians about life in Greenland which helped us bring this beautiful music, which so vividly depicts the joy of a crisp, snowy landscape, to life.

 

Workshops

Following on from my previous trips north, I will once again be working with young people in Orkney’s schools on creative projects and in school orchestras. Hopefully we’ll be able to show you some of our work after the trip.

I’ll also be learning more about Orkney’s music with Gemma McGregor and Fiona Driver. Gemma sparked my interest in the ancient musi of Orkney when I first met her at Sound Festival in Aberdeen last year and Fiona and I share an interest in the sounds of nature and how we can use that in our music. Again, I hope these ideas will feed into future programmes, not least when I travel up to Iceland in March!

Sponsorship

The project is generously supported by the National Lottery through Creative Scotland.

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as well as the Hinrichsen Foundation.

We are also grateful for help towards our transport costs from Loganair and Northlink.

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SUMMARTONAR CONCERTS, FISH SUPPERS AND A TOUR OF THE ISLANDS

After visiting the Faroe Islands alone in 2016, it was a great pleasure to perform with my Nordic Viola Ensemble in 2 concerts as part of Sumartónar on 5th July. This time we were Janet Larsson (flute and piccolo), David Martin and I (violas) and Joost Bosdijk (bassoon).

A BRIEF HISTORY OF SUMMARTÓNAR

Beginning in 1984, Faroese composers started organizing concerts of their own music together with works by international composers. After establishing the Association of Faroese Composers (Felagið Føroysk Tónaskøld) in 1987, these concerts became more regular, especially with the annual Spring Concert and a series of concerts over the summer in collaboration with the Listasavn Føroya (the Faroese Art Gallery). In 1991 a concert with works by several Faroese composers was presented at the St Magnus Festival in Orkney. After participating in a festival in a community comparable with the Faroe Islands, the Faroese composers decided to establish a similar festival the following year in the Faroes. Since these early years, the musical scene in the Faroes has gone from strength to strength and the festival reflects the diversity and creativity of today’s musicians who bring Faroese music to the world and international music to the Faroes.

FAROESE MUSIC AND MUSIC INSPIRED BY THE FAROES

Our programme contained works by Faroese composers Kári Bæk and Kristian Blak as well as pieces inspired by Faroese music by me and Arnannguaq Gerstrøm. We also played a piece based on tunes from Orkney by Judith Weir and a set of Shetland tunes inspired by fishing and whaling trips to Greenland and the Faroes in days gone by. (For more details, see blog below).

I met Kristian back in 2016 and spent a lot of time talking to him about his solo viola piece “Tístram”. It was a real pleasure this time to meet Kári Bæk and rehearse “Vár Trio” and “Fragment” with his input.

When I visited Shetland in November 2016, I composed a piece in conjunction with Margaret Robertson’s fiddle students at Anderson High School. We took as our basis a fragment of a Faroese tune and imagined it seen through the mists over the sea between Shetland and the Faroes. Many a time on my travels people have mentioned how frustrating it is that these archipelagos, with their shared heritage, have no direct transport link. This slightly wistful piece is my response to this.

We were joined on this occasion by two students from Tórshavn music school, Nancy Nónskarð Dam and Bergur Davidsen. We met and rehearsed together for the first time two days before the concert and they fitted in wonderfully with us – a real credit to their teacher, Jona Jacobsen. You can hear their performance here. One day I hope to perform this piece with students from both sets of islands.

THE NORDIC HOUSE

It was an absolute pleasure to perform in the beautiful “Klingran” space in the Nordic House. There are views over Tórshavn through the big glass windows and the performing space is separated from the foyer and café by a glass panel. I love the fact that the space is lit by natural light and that there is no big barrier between the concert and people casually walking into the building. All these things increase the accessibility of music. The acoustics are brilliant, too. It’s an intimate, warm sound that lets every detail shine through. As in my previous concert in the Havnar Kirkja in 2016, the wind was determined to play its part, joining in with the wind effects at the beginning of Arnannguaq Gerstrøm’s “Ukioq”!

We enjoyed playing to an almost full house including Kári, Kristian and many of our friends from the music school. I don’t know whether the Faroese chain dance is to thank for this, but there was some particularly energetic foot stamping in the encore!

RITUVIK

2013_far_sundini_brFortified by a good old fish supper (well, we are from Scotland!) we drove up through the island of Streymoy and over the only bridge over the Atlantic to Esturoy. (This is a Faroese claim – the residents of Kylesku and Skye may wish to dispute that one!) We then drove down through Esturoy to the small village of Rituvík, population 256. (One of the features of Summartónar is that it’s not confined to the capital city, but rather visits many small communities around the islands – something that is also central to the ethos of Nordic Viola.) The journey took one and a quarter hours. Once the new Esturoy tunnel (complete with a subsea roundabout!) is built, this journey of 40 miles will be reduced to 17 miles.

Rituvík church was also beautiful to play in. It was a small, intimate space with a small, intimate yet appreciative audience!

A very long and busy day but much enjoyed by all the musicians. My thanks to Janet, Joost and David and to Dًávur for being our roadie for the day!

A big thank you to the Nordic House and Fróði Vestergaard, not only for looking after us on the concert day but also for providing beautiful accommodation in the conference suite for David and I.

Most of all, thanks to Kristian Blak for organising Summartónar each year. With concerts from May to August, it is a massive undertaking. We hope we’ll be back to play soon!

Summartónar in the Faroe Islands

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(Poster designed by Chris Wesley)

The Faroe Islands were my first port of call on my sabbatical and they will also be the first place that I return to to perform (I visited Shetland on holiday last summer). I can’t believe that that was nearly two years ago.

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I am particularly excited to be playing in the cave “Klæmintsgjógv” in Hestur with my Faroese friend and RSNO colleague, Dávur Juul Magnussen. I have wanted to do this ever since I first heard Dávur’s fabulous CD, Cesurae. Buy it – you’ll be blown away by it!

Music from the Faroes…

I’m also really proud to take my Nordic Viola group, this time composed of Janet Larssen (Flute), Joost Bosdijk (Bassoon) and David Martin and me (Violas).

Summartónar exists primarily to promote the rich and varied music of the Faroes and Faroese composers will be at the heart of our programme. We start with my arrangement of William Heinesen’s “Variations on a Faroese Hymn Tune”.

20e159_a0f122b6a9ba4ae487460b54c71ed21e~mv2Back in September 2016 I spent a lot of time working with Kristian Blak on his solo viola piece “Tístram” and I’m excited to be performing this in Tórshavn and Rituvík. Kári Bæk’s “Vár Trio” has been with us since our very first concert and we’ve added his “Fragment” to our programme as well.

 

 

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…and Greenland

When I was in Greenland, I askedArnannguaq Gerstrøm to write a piece about winter inspired by, and to complement, Bæk’s “Vár Trio”. “Ukioq” shares the first piece’s energy and joie de vivre and it’ll be interesting to perform the two pieces side-by-side in these two concerts, especially as Summartónar this year is also shining the spotlight on the music of other countries that straddle the 62-63 latitude. Listen out for Arnannguaq’s wonderfully effective ice sounds!

Music from the Northern Isles

We’re also bringing some music from our home country of Scotland, or more specifically, from the Faroes’ neighbours, the Northern Isles of Scotland. David and I will play Judith Weir’s Orkney-inspired “Sleep Sound ida Mornin'” from “Atlantic Drift”. We’ll send the audience away dancing with some Scottish tunes inspired by the Faroes and Greenland, written by the fishermen who plied their trade in the North Atlantic.

I’m so looking forward to seeing my Faroese friends again and to sharing music from their homeland and ours. I also can’t wait to see a bit more of the islands  and to take home some more inspirations for our future work. If you’re travelling in the Faroes, please do come and listen to us. We’d love to meet you and share musical tales of our travels!

Kinbuck Concert 25th March

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Once again it seems the weather gods are setting the scene for the next Nordic Viola concert, which will take place in the Kinbuck Centre on Sunday 25th March at 4pm. As I write, it is still snowing in Dunblane and I’m all set to take a little more Nordic inspiration cross-country skiing in the woods.

Kinbuck holds a special place in my heart as it’s where Helen, David, Dave and I performed the first ever Nordic Viola concert, just before I set off for Iceland in 2016. I have experienced so much since then and met so many wonderful people as well as seeing many wonderful sights, and so I thought that I’d make this concert a very personal journey through North Atlantic music.

We will be performing 3 pieces that I wrote myself whilst travelling:

“Tvisöngur” for solo viola, which was inspired by a set of acoustic caves above Seyðisfjörður in East Iceland.

“Sikusimanerani” for flute, 2 violas, bassoon and recorded sound from Greenland. This piece represents the time of ice. It incorporates real sound and conveys the brittleness and space of the icy landscapes around Nuuk.

“Mjørkaflókar” for flute, 2 violins and 2 violas. The title means “Foggy Banks” and is a reflection from Shetland (it was written in conjunction with pupils at Anderson High School in Shetland) of the Faroe Islands (the theme comes from a Faroese folk song).

We’ll also perform pieces by some of the wonderful composers I met whilst travelling:

There is a commission from Greenlandic composer Arnannguaq Gerstrøm, “Ukioq”, which is a playful description of Greenland in winter and music from Margaret Robertson, one of Shetland’s best fiddlers.

No concert with Faroese music would be complete without something from Kristian Blak and I’ll be playing  “…tað heila gongur av lagi”. This uses the same tune as “Mjørkaflókar” and means “everything has gone awry”. Some strange things happen in this humorous piece!

There’s inspiration from the music of old from the Northern Isles and Iceland and we’ll finish with a good old knees up from the Shetland whalers of the nineteenth century and their Greenlandic hosts.

Tickets

It’s been a real joy to us that children have enjoyed our concerts so much, so, as it’s an afternoon concert, we’ve decided to offer U16s free entry. Tickets will be available on the door, or you can reserve them through messaging me on Facebook or via the contact form on the blog.

We look forward to playing for you.

 

Nordic Viola in RSNO Chamber Series, Glasgow

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When it comes to music, the North speaks its own language. Led by Katherine Wren, 4 players from the Royal Scottish National Orchestra take an extraordinary journey: contemporary tales of the Faroes, Shetland, Iceland and the Arctic sit side by side with music from the father of Faroese classical music (Heinesen) and new reflections by Katherine Wren and Composers’ Hub alumni Lillie Harris. Folk roots, personal testimonies, melodies shaped by the elements and new sounds from vast landscapes: it all adds up to something that’s simultaneously timeless, modern and utterly compelling.
Sun 21 Jan 2018, 2.30PM
New Auditorium, Glasgow Royal Concert Hall, Glasgow

Box Office:
Book Online Now!
http://www.rsno.org.uk/concert-listing/concert-information/?c_id=744&action=Read%20More

£14 in advance / £16 on the day

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Sounding the North Conference and Dunblane Concert Wrap-up

 

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From 26th – 29th October I will be giving a presentation on Nordic Viola at Sounding the North conference as part of the Sound Festival, Scotland’s Festival of New Music in Aberdeen.

The conference will explore the following questions:

“What is it that makes northern music sound northern? Is it an association of ideas or experiences? Are the clues to a piece of music’s northernness left there intentionally by the composer? Or do some of the inherent qualities of northern places – the seasonality, the remoteness, the long days and nights, the untouched beauty – become a part of the minds of the people who live  there? Perhaps northern music sounds different just because its creators breathe the air of a different part of the planet.”

The seasons of the north

In my presentation I will explore the idea of the viola embodying the sound of the north. I will look at how the seasons are depicted in music by Nordic composers, focusing on Kári Bæk’s “Vár Trio” flute, viola and bassoon, Poul Ruder’s “Autumn Collection” for solo viola and the two pieces I commissioned: “AND” by Lillie Harris for solo viola and “Ukioq” by Arnannguaq Gerstrøm for flute, viola and bassoon.

Natural Sound

I’ll also look at incorporating recordings of natural sound as well as how these sounds can be imitated instrumentally through pieces by Kristian Blak, Arnannguaq Gerstrøm and myself.

Improvisation

Last, but by no means least, I’ll look at the role of improvisation in my project with reference to performing with Charles Ross in Iceland and, closer to home, with Dávur Juul Magnussen and David Martin as well as improvising solo in the Tvisöngur sound sculpture in Seyðisfjörður. Improvisation is also a tool I’ve used successfully in schools’ workshops – so successfully that I notated and have performed the piece I worked on with students at Anderson High School in Lerwick.

Composers and Performers

There will be lots of exciting composers and performers to mix with at the festival including Bent SørensenGemma McGregor, Alasdair Nicolson, Geoff Palmer, Gunnar Andreas Kristinsson, Gunnar Karel Másson, Arild Anderson, Bozzini Quartet, Edinburgh Quartet and Zoe Martlew.

Dunblane Cathedral Concert

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Personally I absolutely feel that the seasonality, the remoteness, the long days and nights, the untouched beauty do become a part of the minds of the people who live there. My 6 months in the North Atlantic area are something I treasure and long to revisit and hopefully I get that message across in concert.

There were some special moments in the Dunblane concert for me, many of them centred around the younger audience members.DSC_2023 Our special guest from the Faroes, RSNO principal trombone, buried himself deep in the nave of the cathedral and when he started playing, the face of one of my young friends lit up – she loved the idea that the music had moved into the body of the cathedral and come to meet her. Another mother told me how her daughter had come home and written down all the things the music made her think of.

 

 

Pictures © Martin Stewart Photograhy

DSC_1995 I think Dave Hubbard created a fair few fans of the contra-bassoon, too!

Other members of the audience met me in the interval, full of their own stories of the North Atlantic. We had a full house and it was lovely to share my musical experiences of Iceland, the Faroes and Greenland.

Greenland!

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A week tomorrow I’ll be on my way to Reykjavik en route to Greenland, the last trip on my sabbatical. I really can’t wait. Visiting Greenland in July 2015 was really what sparked this whole project off. First and foremost, it is an astonishingly beautiful country. It was that sheer beauty and the assault on the senses that sparked my desire to create my own music again – something I hadn’t had time to do for years.

Life as a professional orchestral musician is extremely busy. We have a full schedule and on top of that, many of us enjoy teaching too. I’m not complaining, because I love my job, but by the time you’ve added in friends and some time to kick back outdoors, there really aren’t many hours left in the day. That’s why it was so important to me to create some space in my life and do what I wanted to do artistically for a while.

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I’ve enjoyed reading a bit more about Greenland and watching a few more documentaries on the country to learn as much as I can before I go. I’m constantly referring back to Gretel Ehrlich’s “This Cold Heaven.” It’s one of the most eloquent, inspiring books I’ve ever read. I also discovered that Shetland fiddler, Maurice Henderson of the band “Fiddler’s Bid”, had recently made his own journey to Greenland to research the tune “Willafjord”. His book is beautiful and Maurice passed on some useful tips for me.

In Shetland I loved seeing the connections between those islands and the Faroes and the connection goes further with Greenland. Seafarers from both archipelogos travelled frequently to Greenland in the whaling days and Maurice put me on the trail of some Greenland-inspired traditional tunes, which I’ve put together in a set. I already have an improvisation on an Inuit theme in my repertoire. It’s been through a few incarnations and has developed through collaborations with my husband, David Martin and with Charles Ross in Iceland, with his wonderful throat singing.

It has always been my aim on this journey to work with new composers and I have just commissioned Arnannguaq Gerstrøm to write me a piece for Flute/Viola/Bassoon to compliment Kári Bæk’s Faroese “Vár Trio” which I played with Helen Brew and Dave Hubbard last summer. Arnannguaq is a flautist herself and is building a name for herself on the Nordic circuit with recent performances of her work in Copenhagen and Reykjavik. I’m really looking forward to meeting her in Nuuk. One day I’ll get time to play Adrian Vernon Fish’s “Sermitsiaq Trio”, too. It’s inspired by the mountain near Nuuk and I want to perform it in a concert when I get home. Adrian has travelled extensively in Greenland and has been a great support throughout my project.

Working with young people has been one of the most fun aspects of this last 6 months and I’ve done so many different things – teaching, coaching, side-by-side work and improvising. I have a day at the Nuuk Musikskolen courtesy of violinist/violist Hanne Sandvig Immanuelsen. I’m really looking forward to that as it looks like Hanne has done some incredible things there and is a real life-force in Greenlandic music-making. I will also play in her orchestra as part of a music festival which is fortuitously taking place whilst I’m there.

So that’s the artistic stuff, but what most people seem to want to know is “how cold will it be?” and “is it dark all the time?” Well, at the moment, yes it’s cold. If you’re curious, take a look here. I like the cold, though, and I have plenty of insulating clothes. Actually, after the rubbish winter we’re having here in Scotland, I can’t wait to get some good snow. As for daylight, there’ll be about 7 and a quarter hours’ daylight when I arrive – more than Shetland had when I left there – and by the time I leave it’ll be up to 10h20. You’ll pretty much see a day on day difference with that rate of change. I love this website.

I’ll update the blog when I can and, at the very latest, when I get back. I’m sure there’ll be stories to tell, so please keep in touch.