To the ends of the earth

Yesterday I was able to travel to London and go to the Science Museum. Whilst such an undertaking may seem ill-advised on a Saturday in school holidays, I needed to visit now because it was my only chance to see Universe of Sound: The Planets, an exhibition featuring Esa-Pekka Salonen and the Philharmonia performing Holst's eponymous suite, as well as a new commission from Joby Talbot entitled Stars, Systems, Worlds, Infinity.  All this was intended to demonstrate the workings of the symphony orchestra and its constituent instruments, and as such each section of the orchestra has its own curtained 'chamber' with the surround sound and video matched to give the impression of sitting amongst the players at that location.

I'd initially been alerted to its existence by a friend who is working as a guide at the exhibition, and who was very pleased to see me there. It turned out I'd fortuitously arrived during a lull in visitors (apparently it can become quite busy with families, and indeed the installation was extended by a month to cope with visitor numbers) and was able to try my hand at percussion in Mars and Venus, playing along to the suite.  This is harder than it might seem even for a seasoned performer, not least counting tens of bars in rests or held rolls and then coming off at the right moment (snare drum technique is also not nearly as intuitive as it looks). Anticipating that many visitors will not necessarily read music, there are helpful video screens in which players from the orchestra explain what you need to do and guide you in with the help of some Guitar Hero-style graphics.  I gave the tam-tam a resounding whack and then played some gentle glockenspiel notes before my guide showed me over to the conducting pods. 'These are really cool' he explained, demonstrating how the motion sensors would detect my hand movements as I followed the beats on the 'conductors-eye' screen. The simulator is limited to controlling volume and showing accuracy of beating; the music will continue even if you stop and there is no way to control tempo or interpretation.  (I suspect no current technology is sophisticated enough to interpret the nuances of a conductor's direction in the way human players do, and indeed the facial and non-beating gestures I made were pointless). But it is a good way of demonstrating what the conductor must do.

Even as somebody who regularly plays in several orchestras there was a great deal of interest in walking round to a different section to my own, and hearing the sound of the orchestra from another point - wind, brass, organ.  The curators had helpfully put out the instrumental parts in their respective chambers for those who could read them, so I would spend each Planet following what I though was most interesting - harps in Saturn, upper strings in Uranus, horns in the Talbot piece.  Possibly the most interesting part was a split-screen showing variously the horn, bassoon, trumpet, violin and timpanist.  Below them was a continuous commentary of their thoughts as they were playing the piece (presumably transcribed from listening through afterwards).  This included a little banter over virtuosic passages, but also fascinating insights into the actual business of performing the music - the trumpeter explaining how the repeated notes in Mars became uncomfortable to play by the end, the violinist explaining how he watches both the conductor and the leader at once, the timpanist counting rests and the conductor watching his stick. The most touching was the principal horn trying to articulate what it was like to play the solo that opens Venus, how she just let herself play it and trusted she had judged the acoustic of the room and the other players that followed her.  It was a wonderfully intimate moment to see the other players responding appreciatively and her satisfaction at performing what was essentially just four notes, but notes of such significance which had been entrusted to her.  Next to this screen was another showing Esa-Pekka Salonen conducting and, in a similar vein, his thoughts on the music and its merits.  'In two minutes he has changed the character utterly' he mused, a little after the aforementioned horn solos in The Bringer of Peace.  Also insights into the business of conducting: 'Muti used to watch for the brass players' embouchure to place the downbeat - sometimes the conductor is led by the orchestra'; 'what makes the rhythm avoid becoming repetitive is that he is always changing what is happening around it...sometimes it's 3+2 and sometimes 2+3...you have to be very controlled and not get carried away by the excitement of the music'. Best of all; 'the sound of the symphony orchestra...something you cannot get from anything else' and 'People who don't really listen to classical music, don't know much about the orchestra - they still know The Planets'.

I must have spent nearly two hours - two complete performances of all the music - in the gallery and eventually left back through the clocks and hourglasses to eat lunch. I was very pleased to discover that although a little out of the way on the first floor, the installation is right above the main ground floor gallery which is open to the roof, and so Holst was being broadcast right over all the cars and steam locomotives and rockets where most of the museum's visitors were.  Whilst one might, being critical, wonder what a piece of music based on astrology is doing in a science museum, I am tempted to include this brief summary of the exhibition in my 'myth of elitism' series, as it is yet another laudable method of opening up to the public the joy and wonder of classical music and the amazing worlds of sound created by the orchestra.  The Planets, although overplayed in parts (I'm thinking especially Mars and Jupiter), deserves the fame it has achieved, and has always been a favourite piece of mine, particularly Neptune with its glittering textures, chilling dissonances and that extraordinary use of voices (something I pay homage to in A Child of the Snows, and which also featured in the Talbot piece). I hope Holst's music, for all his later misgivings about its popularity, will continue to bring many more souls under the spell of the orchestra.

Having picked up some reduced-price chamber music from Chappells (I wanted a score of Holst, but they only had big ones which were overpriced) I then raced home and got back in enough time to see the Olympic Torch being carried through my city. Yes, it was historic. Yes, we all briefly felt part of something big, proud that our largely unremarkable town was a small part of a huge event. But I have to say I will remember the exhibition with more affection than the minutes spent on a street corner, with all the vapid sponsors' stooges faking a party in the drizzle and finally a man with a surprisingly small gold stick running past in few seconds. For all its ceremony, the Olympic relay felt ordinary and mundane; Holst, by contrast, seemed otherworldly and transcendental, filled with wonder and fascination. Better still, it is more accessible. One does not have to wait in the rain or fight through a crowd to experience the music, it is available to anyone as long as there are ears to hear it. That, surely, is the more lasting and generous legacy?

A Child of the Snows: Between the beginning of the end and the end

I have allowed myself two indulgences on this project in the past week:

The first was to purchase a new laptop, a ThinkPad Z60t. I say new, it was reconditioned because the things are about £1500 off the shelf and tend only to go to business users. But besides being durable and having the genius little red tracking button (like a second track pad, but better), it has the most important feature of being able to run Sibelius and associated peripherals without breaking sweat. It's also a widescreen dimension monitor which suits Panorama view very well. What this means practically is that I can now write wherever I have space to sit down, and can also take my work to the piano instead of having to make trips back and forth to try things out.  Another advantage is the ability to flip open the screen and demonstrate or edit my work for another party at an instant, without having to hope their version of Sib is compatible or create a pdf on a pen drive. Admittedly working on the laptop is slightly slower due to the lack of a numeric keypad and mouse, but it's still going to speed things up overall.

The second is that's I've started on the vocal score's piano reduction. The main reasons for this are that the cantata is so close to completion anyway that I might as well do it as a form of proofreading, a phone call from the director to check on progress impressed on me that the vocal score was more urgent than the full score (still a month before the deadline though) and shoudl time get very short the remaining instrumental passages can be written as piano score and copied out into orchestration later. Despite the relative complexity of the score (there are some places where every string line has a different rhythm, although others are as simple as held chords) progress seems to be very quick, indeed in less than three hours today (an average evening's work) I have done over 100 bars, one sixth of the piece.  This too is being done in Sibelius, based on some earlier sketches and hand-written 'tryouts' to allow copy-pasting of lines into the piano staves, then each section tested and revised at the piano.

All that remains to write now is to link up the fragments of oboe solo, three small linking passages between sections and to decide how the piece ends.  The overture is done and refined, the link between verses 1 and 2 is finally sorted (I think) and so is the climax of the piece.  As things stand the piece is now 622 bars and 25 minutes long - perhaps another 20 bars left to write?