Crowdfunders, workshops and more!

Crowdfunder

Lots of news to tell you this month! First of all, the great news that our Crowdfunder campaign that we have been running to raise money towards our performances of Sagas and Seascapes at Edinburgh Festival Fringe has been very successful. Thank you so much to all the generous people who have contributed to that. It means we can support our musicians properly with rehearsal and travel costs. I have also been able to commission Orla to paint us a new piece in response to Eli Tausen á Lava‘s Søgnin um Kópakonuna í 10 Myndum (The Tale of the Sealwoman in 10 pictures). More of that in a minute!

If you haven’t contributed yet and would like to, then you can still do so by clicking here. Additional money over £2000 will be put towards a CD recording which we are aiming to produce in 2023. Alternatively, if crowdfunding is not for you, remember you can help us by visiting our shop. (Payment via PayPal, or use the contact form with your requirements and I can arrange payment by card).

We’ve also received some generous pledges from three businesses local to me. Working within the community is very important to me, whether that’s close to home or when I’m resident in other communities when performing in the Far North, so I’m delighted to be able to offer a free workshop for children in Dunblane as a way of saying thank you to these donors. I’ll introduce you to our sponsors and tell you more about the workshops once I’ve finalised details with everybody.

Raising the profile of music by women

I’m also delighted to say that the Ambache Charitable Trust have once again agreed to support us for Edinburgh. Like Ambache, one of our goals is to raise the profile of women composers and in Sagas and Seascapes, we will once again be featuring the work of Gemma McGregor, Lillie Harris and Linda Buckley.

Workshop

On 5th March, Orla Stevens and I ran our first joint workshop, Tuning In To The Trossachs, in Aberfoyle in Central Scotland. We were blessed with a crisp, clear spring day and enjoyed the morning outside in the forests collecting sounds and making sketches. In the afternoon we gathered in the hall to draw our ideas together, making graphic scores from the sketches and making some sound sketches using found sounds, instruments and our voices. The emphasis was discovery, reflection and process rather than an end goal, but we are nonetheless pleased with the sounds we made, which capture the peace and beauty of where we were working. Have a listen here:

The Tale of the Sealwoman

Finally, a little more on that collaboration between Orla Stevens and Eli Tausen á Lava. Eli’s piece for flute and clarinet was a joint commission between the Spanish/Danish Aura Duo and Nordic Viola. Edinburgh will see its first live performance in the UK. The music is inspired by the legend of seals (selkies in Scotland) who change into human form on land. These legends are common throughout Norse and Celtic mythology, and you can find out more about them here.

Orla and Eli met for the first time via Zoom a couple of weeks ago. You can see some of their initial ideas in one of our crowdfunder updates below and also read more over on Orla’s website.

As you see, there is a lot going on with Nordic Viola just now. Our next key date will be the Made in Scotland Press Launch on 31st May so please do subscribe to keep up with all our news in the run-up to Edinburgh.

Sagas and Seascapes Launches

2020 saw Nordic Viola’s first foray into online concerts with our popular Histories and Herstories video performance. As our lives open up and we can once more work in the same space, we are excited to announce our new and ambitious Sagas and Seascapes programme which, once again, we will be producing alongside the Orkney International Science Festival.

Norse stories and landscape around the northern sea-routes form the inspiration for this concert. Scottish-based Irish composer Linda Buckley’s Aud draws on the settlement of Iceland, while Lillie Harris’ sextet Elsewhen seeks to capture the atmosphere of Orkney’s ancient sites. In Carry His Relics for flute and viola, Orkney composer Gemma McGregor describes the journey of the remains of St Magnus from Birsay to Kirkwall, along the present-day St Magnus Way. Eli Tausen á Lava from Faroe reflects on legends of the Selkies in Søgnin um Kópakonuna í 10 Myndum for flute and clarinet and his compatriot, Kári Bæk, depicts the ever-changing sea in Wogen. The Danish String Quartet’s dynamic arrangement of The Dromer offers a rousing finale.

Audiences loved film footage of the Far North last year as well as the chance to hear the composers speak about their music, so once again we’ll be working with videographer Craig Sinclair. Composers Linda Buckley and Lillie Harris will travel to Orkney with me to join Orcadian composer Gemma McGregor on location. The composers will share their impressions of the landscapes and ancient sites that inspired their music, offering an insight into their creative processes.

A new and exciting innovation this year is inviting landscape artist Orla Stevens onto the project. In common with the music creators on the project, Orla’s work is influenced by expressive responses to sounds and images of the landscape, as well as the emotional experience that being in nature has on the psyche. In conversation with the composers and incorporating her own emotions on being onsite in Orkney, Orla will develop a series of paintings expressing the emotions of the sagas and seascapes explored through music as the programme mirrors Aud’s journey from Orkney, through the Faroes and finally settling in North-West Iceland.

Making music with young people is fundamental to Nordic Viola. Responding to the challenges of travelling during the pandemic, we’ve decided this year to unite young people from around the North Atlantic by running a competition to write a tune for us. We’ll select up to 20 young people to join in online workshops working with myself, Gemma McGregor and Faroese trombonist Dávur Juul Magnussen to develop their ideas. From these workshops, one piece will be chosen to feature in our main concert video and 5 others will feature in a short video of the project in the autumn. More information on that very soon!

I’ll be keeping you up-to-date as the project progresses. If you want to be amongst the first to hear about our recording sessions next month and our on-location filming in Orkney in June, then why not subscribe?

This exciting and ambitious programme has been made possible through the generous support of the following organisations:

Creative Scotland for general project support

for supporting our commission of linda Buckley’s “Aud”

for supporting the competition and workshops

our partners and hosts

Shoormal Conference Shetland

Sometimes it feels like the places I love most don’t want to let me go. The time I almost missed my plane after a month in Nuuk, Greenland, and then had to wait 13 hours in driving snow in Kangerlussuaq prior to flying to Copenhagen. As I write this, I’m gazing longingly at Fitful Head in Shetland bathed in sunshine whilst I sit at Sumburgh Airport waiting for fog to clear in Glasgow.

It’s been a wonderful and energising week here at the University of the Highlands and Islands’ Shoormal Conference. Somewhat paradoxically as I’m dead tired from a 9 till 9 schedule and my mind is buzzing.

“Shoormal” is the old Norn word for the space between the sea and the shoreline and the conference explored themes looking to the future and the spaces between with regard to the creative economy in rural areas.

Nordic Viola was there to demonstrate our work in schools taking our Orkney workshops as a case study. Working alongside Gemma McGregor, we presented 4 soundscapes from the Far North: the sea crashing on the cliffs at Mykines in the Faroes, an icy walk and an Inuit drum dance from Greenland, and geese from Iceland. As we did in Orkney, we asked our audience to reflect on aspects of the sounds that were familiar to them or resonated with their own experience. The vote from the floor was to improvise a piece based on the geese.

We were then joined by fellow musicians Renzo Spiteri, Morag Currie and Natalie Cairns-Ratter to put together some sounds. We demonstrated how the process encourages students to reflect on sound and the environment, sound production and timbre and structure in music. It is also a process that requires co-operation and empathy between participants as they learn to respond to each other’s sounds and to signal stages of the performance to each other. (Naturally these are skills that our conference volunteers already possess to a high degree, but it is important to recognise the role this plays in an educational setting and the value of music in the curriculum).

We ended the session by playing the results from previous workshops in Orkney and Shetland. We included a recording from the Sumartónar Festival in the Faroes where students from Torshavn Music School joined us in performing a piece composed by students from Anderson High in Lerwick, showing how products of workshops can be used to make connections between areas across the North Atlantic.

The following day Gemma and I gave a performance on flute, viola, piano, small percussion and electronics. Taking our audience on a journey connecting the islands of the North Atlantic through environment, seafaring and legend, we demonstrated the wide palate of sounds to be made from 2 musicians and equipment that can be carried on a standard baggage allowance – assuming access to a piano, that is. The performance included the premiere of Nordic Viola’s latest commission: “Carry His Relics” for flute and viola, a reflection by Gemma McGregor on the St. Magnus Way in Orkney. I also performed Lagarfljót, a piece for viola and electronics inspired by my visit to East Iceland earlier this year.

On Thursday night we could finally relax and enjoy performances by the musicians who’d so generously joined us for our workshop. Morag Currie’s “Idea of North” is a multimedia composition for fiddle, viola and Ableton Live digital workstation with visual imagery and selected prose. Many of the inspirations are similar to those in my project, but whereas my principle musical influence comes from contemporary music infused with traditional music, Morag’s is the other way round. I loved the beautiful imagery in Morag’s screenwork, too. Ableton Live is new software to me and is something I would like to investigate.

My first encounter with Renzo Spiteri and Gaby was actually being tossed around on the Northlink ferry on Monday night. Renzo very courageously relocated to Shetland on Monday at the same time as diving straight in with a performance of “Stillness”, a solo performance of sounds, field recordings from Shetland and electronics. I loved how Renzo found rhythm in natural sound and how he amplified the timbres inherent in these sounds through his improvisation. For me, his real love for these islands was very apparent in his work.

Natalie Cairns-Ratter is also a performer but she was at Shoormal to talk about Music and Communication Skills, particularly relating to children with ASD-Autism Spectrum Disorder. Preparation for our workshop meant I didn’t get to Natalie’s session but I had several conversations with her where her passion for her work and for music provision in Shetland were evident. I really hope I can return to Shetland and work alongside her sometime soon.

This is the first time I’ve attended an interdisciplinary conference and I found it a very stimulating experience. Nordic Viola is inspired by landscape, culture and heritage from the region and it was inspiring to learn how artists from other disciplines have responded to this stimulus. I also learned so much from academics specialising in this area and I’m sure I’ll be tapping into their research for future projects. Real standouts for me were Dr. Andrew Jennings on an exploration of Shetland’s place names and identity and Dr. Antonia Thomas‘ talk on Art and Archaeology. As a trained linguist and translator I share Andrew’s fascination with links to Old Norse. I’d never really reflected on the links between art and archaeology before, so Antonia’s talk left me with much to reflect on.

Finally I must offer a big thank you to UHI for putting such a stimulating programme together. Thanks also to all at Mareel for their professionalism. We were so well looked after and the tech staff had everything covered before we even had chance to ask! I’ve a feeling I’ll be back in Shetland soon – once I’ve managed to leave, that is!