The evening concert for the National Commemoration of the Centenary of the Battle of the Somme on 1st of July went to plan and was well-received. Phew!
I may write more on it later… though now, for me, is all about taking a bit of time to rest and recharge the batteries. To be honest, I took a couple of days off directly after the show finished before going back to work. I thought that would do the trick. Boy was I wrong! Though I did get through some work – a pitch for a cartoon miniseries and a budget for another little thing, it was more of a slog than it should have been. I’ve bitten the bullet and given myself this week off to see if that helps.
After powering through the last couple of months on the Somme project, fatigue snuck up on me and the creative well is running a bit dry. Politics, world news, the state of the climate… Right now, the world is travelling a touch too fast for me to keep up. I need to pause and regroup for just a little while longer so as to return ready for the next adventure!
Though I still find myself at the computer, pottering in the studio, attacking that mountainous paper pile of receipts. It’s quite hard to do just… nothing. Hopefully this slower pace with do the trick though – focussing on things other than what the next note or rhythm or modulation should be. Maybe a change is as good as a rest?
I’m in the middle of composing the music for a small section of the concert that will commemorate the First World War Battle of the Somme in Heaton Park, Manchester, in the evening of 1st July.
The concert will feature a children’s choir, the Halle Orchestra, Lemn Sissay reading a new poem commissioned for the evening. The part I’m working on is a new dance piece that explores hope, idealism, fear, excitement leading into the horror and brutality of war. A tall order!
The music is currently in its second draft and it’s been an interesting challenge to bring all of these emotions and ideas into one coherent piece that lasts for 14 minutes. It’s certainly one of the longer single pieces I’ve written for a theatrical event that isn’t an ambient underscore (in Slung Low’s shows these kinds of underscores are commonplace, usually to accompany large groups of audience members from one location to another). It’s way more front and centre – hopefully more a partner with the dancers and other elements than an accompaniment; and, because of this, it’s a more involved, more intricate and more crafted piece of work.
Ultimately the piece is in service of something way greater than itself – a commemoration of the largest battle of World War I on the Western Front,which killed or wounded more than one million men – one of the bloodiest battles in human history.