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CCA Composer of the Month – May 2014
[Editor´s note: the photos on the right show (top to bottom) 1. John McDonald Mackenzie at work; 2.The front cover of the Derby City Council´s programme to celebrate the refurbishment of the Joseph Wright Gallery; 3. John in his Scottish band days with his wife Annèle; 4. John and Annèle [a notable singer, pianist and teacher in her own right] in March 2014; 5. a facsimile of Joseph Wright´s painting [A Philosopher Lecturing on the Orrery]; 6. part of the front cover of the concert programme.]
YOUR FEATURED COMPOSITION OF THE MONTH:
INSTRUMENTAL AND/OR VOCAL RESOURCES USED:
FIRST PERFORMANCE DETAILS:
Sunday 26th February 2012 – Derby Museum and Art Gallery
[A recording may be available later in May]
PERFORMERS AT THE FIRST PERFORMANCE:
Diane Terry & Julia Black [Baroque violins]; Ken Mitchell [Baroque viola] and Gareth Deats [Baroque cello]
OF THE WORK(S) YOU HAVE SELECTED FOR THE COMPOSER OF THE MONTH FEATURE, WHAT WAS THE SOURCE/INSPIRATION/COMMISSION WHICH SET THIS PIECE OR THESE PIECES IN MOTION?
In 2011, the Joseph Wright of Derby Gallery at the Derby was refurbished and the reopening was marked by a grand concert in the manner of an C18th musical entertainment. I was asked to write a piece based on one of Joseph Wright’s pieces and I chose the “Orrery” as it one of his most famous and I could see so much potential in the group portrait from the historical and social setting and analysing it to make sense of what I could observe. This reason for this concert along with the music details and the performers are explained in the .pdf of the programme which can be found under the ‘score’ on the works page of The Orrery.
WHAT WOULD BE A GOOD PROGRAMME NOTE FOR THIS WORK (OR THESE WORKS) WHICH EXPLAINS THE STRUCTURE, USE OF MELODY AND HARMONY AND ANY TECHNICAL POINTS RELATED TO THE PERFORMERS?
The conflict in this music is, in a sense, connected to the time of the picture. There was a great interest and a general sense of adventure in science and biology which was not always approved of by the established churches. Many were of the opinion that to delve into the unknown was dangerous, almost blasphemous in fact. Consequently the music reflects a sense of fear of the unknown - perhaps even the work of the devil. As I examined the painting in detail I could see that the outside edges are almost black and the light comes from a little lamp in the centre of the group. The figure of the lecturer is given larger-than-life importance. Perhaps the artist is really saying that science is the biggest thing yet, and believed by the Lunar Society as being the true enlightenment.
[Editor´s note: first page of each movement of The Orrery may be viewed at the end of the .pdf which includes a scan of the complete concert programme - click HERE]
1st Movement - Moderato
The quartet commences with a theme rising out of the cello. I see this as being about ‘The Enlightenment’ as in the biblical phrase “out of darkness comes light”. The movement continues with a great deal of conflict because, at that time, there were many who thought it was evil to study science and it was against God to study ethereal objects such as the planets.
2nd Movement - Allegretto
The second movement suggests the elegant lifestyles of the people in the picture and the niceties of an age of elegance. The painting suggests that they all seem to be dressed for travel. Mr Burdett is holding a tricorn hat in one hand, in his other hand a paper and pencil and also a little metal bugle or horn as was used in these days to sound the arrival of a coach and horses. Though they are in a room, it hints that they had travelled to the lecture in their heavy clothes. This movement is evocative, therefore, of a horse-drawn carriage especially as one can hear the suggestion of the clip-clop of horses in the pizzicato strings.
3rd Movement - Andante
In this movement there are many questions about the stars and the universe. There is also perhaps an anticipation of a better future with the hints of great mechanical improvements at Cromford Mill where great strides had been made in manufacturing. One can hear the click-clack of the machinery and the rhythm of mechanisation.
4th Movement - Allegro
A new age is born and untold wealth. In this movement, there is evident the sighs of the Indian Widow, the shovelling of The Earthstopper [both paintings by Joseph Wright], the sounds of the industrial movement throughout the country and also the exuberance of grand evenings with the Lunar Society. The music jogs along with the rhythm of a Royal Ball and dances to a climactic conclusion – an enlightenment in musical experience!
WHEN DID YOU FIRST START COMPOSING AND WHAT WAS YOUR FIRST PIECE?
I was about 14 and, at that time, (despite not being formally trained) I wrote a ‘Jig’ for accordion as before I was able to read music I could play the accordion and bagpipes.
WHO WAS IT THAT FIRST ENCOURAGED YOU TO DEVELOP YOUR INTEREST IN COMPOSING AND HOW DID THEY HELP?
I was essentially self-trained but played in bands [Scottish & Rock & Roll and a combination of both] and learned much from the other players. I had to learn to transpose but scoring things for the other players in this helped me when I was later involved with brass bands and transposing for all those instruments too. In order to learn more about the structures of music I studied at Adult Education courses at St Helen’s House where I attended analysis and listening classes which helped me tremendously. I have also attended Dartington International Summer School every summer where I have listened to and participated in dozens of masterclasses – especially those given by virtuoso soloists like Ruggiero Ricci – where I learned about the technical possibilities of the violin.
WHO DO YOU CONSIDER YOUR GREATEST INSPIRATIONS IN TERMS OF THE MAJOR COMPOSERS AND WHICH OF THEIR WORKS HAS INFLUENCED YOU THE MOST AND WHY?
Beethoven has had the greatest influence on me especially with his Op 18 String Quartets and also, I suppose, Haydn’s Quartets too.
HOW WOULD YOU DESCRIBE YOUR STYLE TO SOMEONE WHO HAS NEVER HEARD YOUR MUSIC BEFORE?
My music varies in style. There is a wide range from extremely dissonant music to tonal and folk music too with influences from Scottish, Irish and French styles as well.
WHAT DO YOU FEEL IS ORIGINAL IN YOUR MUSIC?
I try to be original at all times although, inevitably, that is almost impossible considering the influences.
HOW DO YOU WORK? WHAT METHODS OF CREATIVITY AND WORK ETHIC DO YOU HAVE? DO YOU SOLELY USE MUSICAL TECHNOLOGY OR DO PAPER AND PENCIL STILL FORM A PART OF YOUR PROCESS?
Used to use manuscript paper and pencil which was laborious but allowed me to check as I went along. The advent of music technology has save the arduous task of writing and rewriting the music and also copying out the parts for the performers – something which I’d done regularly since I was a teenager.
WHAT PROJECTS ARE YOU CURRENTLY WORKING ON?
Finalising the “Somersby String Quartet” about Alfred, Lord Tennyson and a WW1 work based on contemporaneous materials – and not concentrating on the misery of the war.
To finish, who or what is your favourite:
Genre of Music?
Instrumentalist?
Ruggiero Ricci [violinist]
Singer?
Dame Emma Kirkby [soprano]
Chamber Ensemble?
Orchestra?
Concert Venue?
Piece of Music
Beethoven: Symphony No. 3 in E flat [‘Eroica’] and Bartok: Concerto for Orchestra