GRAMMY-nominated composer Anna Clyne tells us about the half-woman half-bird creatures that inspired her latest work Sirens. We’ll be performing the world premiere alongside Ben Goldscheider on 8 May at St Martin-in-the-Fields.
What do you hope audiences experience when they hear Sirens for the first time?
I hope that audiences are enchanted by the incredible musicianship of Ben Goldscheider (for whom Sirens is dedicated) and the London Mozart Players. The music is set in three parts – each 5 minutes – and I hope that audiences also experience a musical journey that ebbs and flows, guided by these extraordinary musicians under the direction of Jonathan Bloxham.
The creative impulse for Sirens was Ben’s virtuosity and sensitivity as a musician. I began the process by listening to his recordings, and we met on Zoom so that Ben could share a range of extended techniques that push the boundaries of the French horn.
What first sparked the idea for Sirens, and how did it evolve through the composition process?
The creative impulse for Sirens was Ben’s virtuosity and sensitivity as a musician. I began the process by listening to his recordings, and we met on Zoom so that Ben could share a range of extended techniques that push the boundaries of the French horn, and to answer some questions I had gathered – in particular pertaining to pitch and dynamic range. I’ve really appreciated Ben’s collaborative spirit during the writing process for Sirens. In addition to Ben as soloist, Sirens is also inspired by the half-woman, half-bird creatures of Greek mythology who lured sailors to their doom with their enchanting songs and irresistible voices. I hope that the melodic ideas that I created lure audiences into this musical world.
Sirens is also inspired by the half-woman, half-bird creatures of Greek mythology who lured sailors to their doom with their enchanting songs and irresistible voices.
How does Sirens fit into the broader direction of your work as a composer right now?
I have been writing a lot of concerti lately – from Glasslands for saxophonist Jess Gillam and Weathered for clarinetist Martin Fröst, to Times and Tides for violinist Pekka Kuusisto and Resonant Forms for violist Lawrence Power. I’m drawn to this musical form as it combines two of my great loves: writing for the orchestra and collaborating with a soloist to explore a musical voice and personality.
What were the biggest creative challenges in bringing Sirens to life?
As a cellist, the French horn has always been somewhat of a mystery to me so writing Sirens and collaborating with Ben has been a wonderful opportunity to work on my brass writing skills. From mutes and extended techniques to range and colors, this piece challenged me to find ways to blend the sonorities of the horn with that of the string ensemble. I also wanted to write a piece that is nimble, so Sirens exists in two forms – for French horn and string orchestra – and French horn and string quintet.
Thank you to Ben, the London Mozart Players and Jonathan Bloxham for bringing this piece to life.
Here are some other bits we think you'll like
Im-peck-able vibes
Italian sunshine is the recipe for genius
