16:30 - 17:30
Sean Rafferty presents a selection of music and guests from the arts world.
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 A new music commission inspired by Viking legend Bryars answered questions the public put to him while he was composing From Egil's Saga. Oskar Oskarson asks: I enjoyed listening to the interview "From Egil's Saga ". I would like to point out however that Egil's Saga is written in Icelandic, not a language called Norse. There was never a language called Norse and no man ever described himself as a Norseman. This whole idea of a language called Norse is English in origin and without any basis in fact. Gavin Bryars replies: My original assertion regarding "Norse" was in ignorance, as at the time of the interview I had only just begun to think about the piece. As I am English, and as the use of the term is an English invention as you write, it is hardly surprising that I fell into this trap. I'm sorry if this offended. However, I became aware quite quickly that the language was Icelandic and, in fact, this attracted me rather more. I made a very enjoyable visit to Iceland when I performed in Reykjavik with the Merce Cunningham Dance Company a coupe of years ago and gave a lecture while I was there. There is now some interest in the piece being performed in Iceland which would make me doubly happy. Gerard Harris asks: Will we ever hear the Portsmouth Sinfonia play again? Perhaps they could have a stab at more contemporary pieces now - there's a good few Radiohead tunes which could do with a mauling. Gavin Bryars replies: Strictly speaking the Portsmouth Sinfonia never disbanded but simply stopped working as other things took over our lives. The trouble with tackling contemporary pieces is that they would have to be recognisable however badly we played them, and I'm not sure that would be the case with Radiohead, except for real specialists... I'm not sure whether we will ever perform again, though it would be good to get the recordings re-released. David Welsh asks: Is there any intention to include the Norwegian Hardanger Fiddle in the work? GB replies : Much as I love the Hardanger Fiddle, the orchestration that I have chosen uses only the lower strings and this would preclude the Hardanger Fiddle - though it's a very good idea! Glenn O'Raw writes: I think you might be interested in Catherine Fisher's "Snow Walker Trilogy". It's a magnificent recreation of the world of saga and myth with lots of snow. I think there's something inherently satisfying about reconnecting with the imaginations of our ancestors. Certainly looking forward to hearing your new work- hope it has a harp in there somewhere, Best wishes, Glenn O'Raw GB replies: I don't know Catherine Fisher's work. I would welcome information on it though. Unfortunately there won't be a harp in this piece, though I do plan some other pieces with a rather special harp - for Ruth Wall. Philip Bielby asks: Many of your pieces, in spite of their differences, are conducive to evoking reflection, even introspection, in the listener. Is this a conscious aim behind much of your work, or is it an unexpected response to it? GB replies: It's not a conscious aim behind the work, but perhaps reflects the way in which I like to allow events to unfold i.e. at a natural and organic way which gives the listener the chance to experience them at his/her own pace. Even when I was a jazz bassist I much preferred playing very slow tempi, which gave the chance for harmonies to be relished. | | Introduction Interviews Bryars answers your questions Technical realisation Work in progress Educational projects Samples and notation Teachers notes Related Links on radio 3 on bbc.co.uk on the web The BBC is not responsible for the content of external websites. |
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