Margaret Vickery - Blog

Margaret Vickery - CCA Composer of the Month – August 2014

Margaret Vickery - CCA Composer of the Month – August 2014

CCA Composer of the Month – August 2014

The photographs on the right feature [1] the programme cover of the performance of Fanfare for 60 and [2] is a screenshot of the première with the Beauchamp Sinfonietta conducted by Julian Parkin. Margaret Vickery is in the front row of the choir, sixth from the left. [3] shows the huge space in All Saints Church, Leamington Spa. [4] features Margaret Vickery with the Frascati String Quartet at the première of her string quartet, Dorset Sketches and [5] shows Margaret Vickery singing in the semi-chorus of The Dream of Gerontius at Dartington Hall.

 

YOUR FEATURED COMPOSITION(S) OF THE MONTH:

Fanfare for 60

 

INSTRUMENTAL AND/OR VOCAL RESOURCES USED:

Symphony Orchestra with organ [click here to access the orchestral score]

 

FIRST PERFORMANCE DETAILS – IF RELEVANT:

29 March 2014, All Saints’ Church, Leamington Spa 

 

PERFORMERS ON YOUR RECORDING – IF RELEVANT:

Beauchamp Sinfonietta conducted by Julian Parkin 

 

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?

The work was written to celebrate the 60th anniversary of the Warwick & Kenilworth Choral Society

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 work is in ABA format, the outer sections being in typical fanfare mode with prominent trumpets, oboes and clarinets, while the central section is a gentler, expressive reminder of the ´Dies Irae´ from the Verdi Requiem sung by the choir at their 50th anniversary concert.

 

WHEN DID YOU FIRST START COMPOSING AND WHAT WAS YOUR FIRST PIECE?

I’m not sure, but I do remember making up songs as a child and singing them around the house, much to my sisters’ annoyance! To get away from them I used to go to the local woodland and, being quite alone, sing to my heart’s content. The first of my compositions that I vividly remember was very much later, in Millennium year, when my string quartet, Dorset Sketches written in memory of Gordon Benningfield, the artist and President of Butterfly Conservation (an organisation with which I have been closely associated for over 30 years) was performed on the 3rd June, 2000 by the Frascati String Quartet in Toller Porcorum, Dorset, as part of a Butterfly Conservation weekend at the Kingcombe Centre nearby.

WHO WAS IT THAT FIRST ENCOURAGED YOU TO DEVELOP YOUR INTEREST IN COMPOSING AND HOW DID THEY HELP?

Colin Touchin, Director of Music at the University of Warwick.  As a member of the university chorus I was able to attend the extracurricular composition seminars run by Sarah Rodgers. When Sarah left, Colin continued as my mentor and gave me much advice on composing, including invaluable insights into orchestration. He also performed some of my works with the Chamber Choir, wind orchestra and at some of his recorder workshops. I also took part in composition workshops at the Dartington International Summer School.

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?

It is probably easier to say what has not influenced me! My favourite composer and piece regularly change; my greatest joy now is to discover a work I’ve never heard before which completely bowls me over! It happened last year with Shostakovich’s Symphony No. 10 at the Proms. Probably it is the great choral works that have influenced me most, such as Haydn’s Creation, Mendelssohn’s Elijah, Brahms’ Requiem  and especially the intensely moving Dream of Gerontius by Elgar. I have sung (soprano) all of these with immense enjoyment many times.

HOW WOULD YOU DESCRIBE YOUR STYLE TO SOMEONE WHO HAS NEVER HEARD YOUR MUSIC BEFORE?

I don’t know! I have been told I have a recognizable style, I would guess it is English/modal. I seldom consciously use keys, but I think they must be there in my subconscious as I do use cadences.

WHAT DO YOU FEEL IS ORIGINAL IN YOUR MUSIC?

I never consciously copy any other composer’s style or note progression except where there is a reason for doing so, therefore I would say everything is original.

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?

I don’t think I could compose without modern technology, as I revise my pieces so many times before I am satisfied, often in quite major ways. I use Sibelius 7 and the GPO and GPO Choral sound sets which I find absolutely essential.

WHAT PROJECTS ARE YOU CURRENTLY WORKING ON?

A setting of A Sense Sublime from Lines Written a Few Miles above Tintern Abbey by William Wordsworth for SATB and string ensemble.

 

To finish, who or what is your favourite:

Genre of Music:

            Any that I can interact with emotionally

Instrumentalist:

            No one in particular

Singers:

            CBSO Chorus/BBC Symphony Chorus are equal favourites

Chamber Ensemble:

            Coull Quartet

Orchestra:

            CBSO

Concert Venue:

            Warwick Arts Centre

Piece of Music:

            Dream of Gerontius