Dr Sam Girling interviews young British composer Sarah Jenkins on her MSO commission
We can’t wait to see The Coming of Night on September 7, a magical piece of music that Sarah Jenkins was inspired to write for a sextet, after reading Emily Dickinson’s poem of the same name. What’s so special about hearing this to open our Brahms Double concert is that Ms Jenkins adapted it for orchestra, especially for MSO, making this performance a World Premiere. Read on to hear all about it.
Can you tell us a bit about your musical background, how you developed a career as a composer?
I was lucky enough to have incredibly supportive and encouraging teachers growing up – my piano, clarinet and secondary school music teachers all fuelled my love of music and encouraged me to explore my own ideas. I met John Hardy (Head of Composition at the RWCMD) during my undergraduate degree and he is one of the biggest reasons I am composing – his endless support, guidance and encouragement is an enormous source of inspiration for me as a composer and musician.
Your piece ‘The Coming of Night’ was initially written for sextet and has since been adapted for orchestra, set to be premiered by the Manukau Symphony Orchestra. Could you share the background of this piece, how you originally composed it, and the process of transforming it into an orchestral work?
I was commissioned by BBC Radio 3 and the BBC Concert Orchestra to compose a 4-minute sextet (Flute, Clarinet, Horn, Violin, Viola and Cello) for BBC Radio 3’s ‘Capturing Twilight’ broadcast series. I was asked to use twilight as the inspiration for the piece and during some research I came across Emily Dickinson’s poem ‘The Coming of Night’. I immediately loved the poem and decided to try to capture and explore the atmospheres, colours and images within her vivid depiction of twilight and the transition from sunset to night through music. I’m absolutely delighted to be collaborating with Manukau Symphony Orchestra on this project of transforming the sextet into an orchestral piece! The process of morphing it into an orchestral piece was really exciting – I began by deciding which instruments would suit which bits of musical material and then I began piecing the jigsaw together. I really enjoyed transforming the textures and sound colours into the orchestral palette. It’s fantastic to have had the opportunity to explore richer harmonies and textures after the initial challenge of having six instruments to work with.
What are some of the challenges you face when composing for an orchestra compared to smaller ensembles?
The sheer scale and size of an orchestra can feel rather daunting when there are no dots on the page! But it is incredibly exciting to have the full vibrant, electric and colourful force of an orchestra to work with – I relish the challenge of sharing out material across the orchestra and trying to find combinations of instruments that will create certain colours of sound or texture.
Another challenge I relish with any size of ensemble is to try to write music that both the performers and audience can connect to, whilst also writing something that I feel is true to myself.
Who are your biggest influences and inspirations in the world of music and composition?
My teachers and mentors have had an immense and lasting impact on me! I love a very wide range of music of all different styles, but some particular favourites of mine are Ravel, Sondheim, Britten, Steve Reich as well as countless others!
In 2017 you won the BBC Young Composer of the Year award. Could you share with our New Zealand audience a bit more about the competition and what it entails?
BBC Young Composer was such an incredible experience. Winning the competition means you get a piece of yours performed live by a professional ensemble. My piece was performed by the Aurora Orchestra and broadcast on BBC Radio 3. It was my first ever experience of working with a professional ensemble and the rehearsal process was invaluable – to meet and learn directly from all of the musicians was incredible! The competition also led to me being commissioned by the BBC Concert Orchestra in 2018 to write ‘And the Sun Stood Still’. The whole experience was life-changing and instilled a real hunger and determination in me to keep working and creating. The whole BBC Concert Orchestra team, both on and offstage, are phenomenal and working with conductor Bramwell Tovey was a transformative experience – he enabled me to explore ideas with confidence and taught me so much about collaboration. Experiencing how he worked with the orchestra was staggering – the atmosphere he created was electric, intensely focused but always with an incredible warmth and humour. I will always be grateful to him and the orchestra.
What advice would you give to aspiring composers who are just starting out?
Immerse yourself in as wide a range of music as possible, go out and experience as much live music as you can! Listen to new things, learn what you love and what makes your heart really sing when you listen to it. To know that rejection is part of the route – we all experience (lots!) of it and I think it can often be useful to think of it as a redirection rather than a failure. Learn from others and be true to yourself and the music you want to write.
How do you see the future of classical music and orchestral composition evolving, and what role do you hope to play in that future?
The creative process is often hidden from an audience – they often only experience the concert, the final product. I wish to explore ways of removing barriers and allowing audiences to experience the process of creating, not just the final product. I also believe that every child should have access to music and the arts from a young age.
I believe that innovative and inclusive concert programming is and will continue to be crucial to the future of classical music in order to forge, maintain and nurture new audiences. I want to advocate for the importance of the arts in our society and to work to bring music to as wide an audience as possible. Through my own work as a composer and performer I aim to communicate my ideas in as truthful a way as possible and to write music that comes from my heart which the listener can connect to.
