Ben Goldscheider tells us what it’s like working with Anna Clyne on a new commission, and pushing the boundaries of the horn.
We caught up with Ben Goldscheider ahead of Siren Songs and Serenades on Friday 8 May at St Martin-in-the-Fields.
What has it been like working with Anna Clyne on a brand new piece of music?
In short, wonderful. Anna has been incredibly open and curious, particularly when it comes to understanding the intricacies of the horn. After a very rewarding Zoom call—during which I demonstrated the instrument’s range, its variety of timbres, and a number of extended techniques—the result has been a piece that makes full and imaginative use of all these possibilities.
Anna has been incredibly open and curious, particularly when it comes to understanding the intricacies of the horn.
Where do you find inspiration outside of music, and how does this influence your artistry?
Do you have any favourite moments in Sirens?
As I write, the piece is still very much a work in progress, but the ending already feels particularly striking. The entire third section is driven by energy and precision, building towards a tour-de-force conclusion that pushes the horn to the very limits of its range. I’ll be wishing myself luck!
A tour-de-force conclusion that pushes the horn to the very limits of its range. I’ll be wishing myself luck!
My approach shifts depending on many factors—the tenor, the size of the string section, and the acoustic, to name just a few. Beyond the more obvious passages, I tend to think of the horn as an unspoken commentator on the text. My role is to respond to, and sometimes expand upon, what the voice expresses, translating those reactions into sound.
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Siren Songs and Serenades: LMP with Ben Goldscheider
