Following the success of the Embedded scheme, it became apparent that there was a need for a similar opportunity on a smaller scale so we created Portfolio. We had a fantastically rich response to our first call and are excited to announce the following new partnerships.
Bernard Hughes, Sarah Lianne Lewis and Na'ama Zisser will be working with vocal trio Juice; Benjamin Gait, Ben Gaunt, Charlotte Harding and Patrick Jones will be working with Ensemble 10:10 and Kate Whitley, Sakoto Doi-Luck and Kim Ashton will be working with the Orchestra of the Age of Enlightenment.
Sound and Music’s Portfolio scheme provides a key development opportunity for composers to create new work with and for some of the UK’s leading ensembles and presenters of new music. Portfolio enables them to develop their portfolio of compositions and gain vital artistic and practical insight and experience in working with professional ensembles and presenting organisations, and delivering new work to public audiences.
Selected composers are invited to develop a small-scale, short new work for a leading UK organisation. These are developed through a series of workshops during which the composer will work in close collaboration with the performers supported by an experienced composer mentor. The process culminates in a public performance of the new work within the ensemble’s performance schedule.
Bernard Hughes, Sarah Lianne Lewis, Laurence Osborne and Na'ama Zisser will be working with Juice
Bernard Hughes’ music has been performed at major venues in Britain and received a number of broadcasts on Radio 3. He was runner-up at the 2009 British Composer Awards for the choral work The Death of Balder. He has been commissioned by the BBC Singers, the New London Children’s Choir and the pianist Jakob Fichert. He has received performances at the Huddersfield, Spitalfields and Bangor New Music Festivals, and at venues including Coventry Cathedral and Symphony Hall, Birmingham.
Recent projects include The Death of Balder, a major choral work for the BBC Singers on a Norse myth re-told by the distinguished novelist and scholar Kevin Crossley-Holland. Bernard & Isabel, for narrator and orchestra, was premiered at Symphony Hall in Birmingham in December 2010. The children’s opera Chincha-Chancha Cooroo was commissioned and premiered by W11 Opera in London.
Bernard Hughes’ chamber opera Dumbfounded!, based on a short-story by the Edwardian writer Saki, was premiered at the Tête à Tête Opera Festival in London in August 2008. Forthcoming commissions include a new work for the Seattle Pro Music choir and a community choir work for the Three Choirs Festival in 2012.
Bernard Hughes’ music has been broadcast on Radio 3, and he appeared as a conductor on the recent Channel 4 series Howard Goodall’s Twentieth Century Greats. Bernard writes regularly in the new music periodical Tempo.
Sarah Lianne Lewis
Sarah Lianne Lewis is a Welsh composer, based in Cardiff. She graduated from Cardiff University in 2011 having completed her Masters in Composition under the tuition of Professor Anthony Powers and Dr. Arlene Sierra. Her music has been performed by the BBC National Orchestra of Wales, Gemini, PianoCircus and Wormshead Top Brass, and featured in the St. Magnus Festival, Aberystwyth Musicfest and St. David’s Cathedral Festival.
She was awarded Young Composer of Dyfed in 2011, and is currently working with the Bristol Saxophone Ensemble through Making Music’s ‘Adopt a Composer’ scheme 2012/13, as well as a participant on the ‘Aldeburgh English Song Project’ (2013), run by the Britten-Pears Young Artists Programme.
Na’ama Zisser (b. 1988) is a London-based composer. Na’ama grew up in Bnei-Brak, a small Orthodox-Jewish town on the border of Tel-Aviv in Israel.She began her musical education at the age of 6 playing the piano.
Upon completion of her military service as a Pianist and Arranger at the Air-Force orchestra IDF, Na’ama decided to take on Composition at the Jerusalem Academy of Music and Dance.During her studies she has written numerous string/symphonic arrangements and earned commissions from the Jerusalem Symphony Orchestra and the Israel Camerata Orchestra. Her music was broadcasted live nationally and aired on Television.
Having since completed her degree at the Guildhall School of Music and Drama under Matthew King, Na’ama is a current Master of Composition Student at the Royal College of Music studying under Mark Anthony Turnage. Na’ama’s music tends to be very personal/somewhat autobiographical with a strong Theatrical element.
In the past year she has completed the following: ‘Sandman’ A Horror Chamber/ Electronic Opera (Directed by Stuart Barker-BYO,performed at the Silk street Main theatre,London) ‘O.C.D’ A choral piece for 8 amplified voices (workshopped by vocal group Exaudi,gsmd), ‘Ghosts!2013’ a Drama in one act that combines Contemporary Dance, Opera and Visual Arts for an iPhone Quintet, and ‘MEHONOT’ commissioned by the Jerusalem Symphony Orchestra (violin solo: Lior Kaminetsky).
Na’ama will be participating at the Britten-Pears young musician program/ Aldebrugh Music Festival, she is currently writing several chamber pieces as well with developing her second chamber Opera.
Juice Vocal Ensemble
juice are at the forefront of the UK’s experimental/classical scene, performing new vocal music which draws on classical, world music, jazz, folk, pop, improvisation and theatre. They have featured on BBC Radio 4’s Woman’s Hour, BBC Radio 3 and Classic FM. They have performed at London’s Wigmore Hall and the South Bank, Kings Place and the Roundhouse. In 2011, they made their US debut with concerts in New York and at the famed SXSW Festival in Austin, Texas. In 2007, they were the first UK prize winners in the history of the internationally-renowned Tampere Vocal Festival.
Juice's debut album ‘Songspin’ (Nonclassical, 2011) won an international Independent Music Award for Best Contemporary Classical Album in 2012. Featuring remixes by the likes of Camille producer MaJiker and Bjork collaborator Mikhail Karikis, it was reviewed by The Observer as ’Eighteen immaculately achieved tracks, spanning Elisabeth Lutyens to Gabriel Prokofiev via folk song and avant garde, enchant and enthrall‘ The Observer.
Juice have had their music choreographed to by Maurice Causey from the Nederlands Dans Theatre; have devised their own live vocal score to the 1916 film The Danger Girl (BFI Southbank, Latitude Festival, King’s Place with the Bird’s Eye View Film Festival); have performed live for a London College of Fashion Graduate Show; and have worked with internationally-renowned beatboxers Shlomo and Beardyman.
juice are Anna Snow (soprano), Sarah Dacey (soprano) and Kerry Andrew (alto).
Benjamin Gait, Ben Gaunt, Charlotte Harding and Patrick Jones will be working with Ensemble 10:10
Benjamin Gait (b. 1987, Widnes) is a composer currently based in Manchester. His music, often for chamber ensembles and unusual instrumental combinations, aims to balance clarity with integrity, and a focus on involving the audience and the performers in both a musical and (usually implicit rather than explicit) theatrical experience. He has recently submitted a PhD at the University of York, under the supervision of Dr. Thomas Simaku.
Ben Gaunt (b.1984) studied for a Bachelor’s and Master’s in Composition at the Royal Northern College of Music with Adam Gorb and Paul Patterson. He was awarded the Edward Hecht Prize for Composition during his second year. His Master’s was kindly funded by The Countess of Munster Musical Trust. Ben is currently pursuing a PhD at The University of Sheffield with Dorothy Ker and George Nicholson, and he has a PGCE from Manchester Metropolitan University. Ben’s music has been featured at the Huddersfield Contemporary Music Festival, Chorlton Arts Festival, Music at Duffield, RNCM Keyboard Focus Day, and at various locations across the UK and Europe.
He has worked with Icarus Ensemble (Italy), Christopher Redgate, BBC Singers, Size Zero Opera, Absolution Saxophone Quartet, Tempest Flute Trio, The Noise Upstairs and many emerging young musicians. Performances of Ben’s works have been funded by the Ralph Vaughan Williams Trust and the Sir Max Bemrose Bursary Trust. His double bass piece Residuum II – Counting Eons was published by Simon Verlag für Bibliothekswissen in Germany. His piece for amplified ensemble Seven Shrinking Machines is to be published by University of York Music Press.Ben co-founded Sounds of the Engine House with fellow composers, Steven Jackson and Eve Harrison, dedicated to promoting the music of living composers.
In July, Sounds of the Engine House will be presenting a concert at the Bridgewater Hall, Manchester as part of the Little Bite Music concert series. This will featuring solo repertoire by established composers alongside ensemble pieces written specifically for the event by Ben, Steven and Eve. When he’s not composing, Ben likes walking in the Peak District, and is a black belt in Karate and Jujutsu.
(b.1989) graduated from the Royal College of Music, London with a first class honours degree studying composition with Mark-Anthony Turnage and saxophone with Martin Robertson. On graduating Charlotte won the Cobbett and Hurleston Prize for Composition as well as the prestigious Queen Elizabeth, The Queen Mother Rosebowl, presented by HRH Prince Charles. Charlotte was also awarded the Theodore Holland Intercollegiate Composition Prize having been nominated to represent the RCM. Charlotte enjoyed numerous premieres of works during her time at the RCM, a highlight being winning the RCM Concerto Competition with her orchestral work, 'Fuse', which was premiered by the RCM Sinfonietta. She was selected to write a piece for the 'RCM Rising Stars' series and her chamber work 'Ion' was subsequently premiered at Cadogan Hall. Charlotte was also asked to write 'Fleot Fanfares' for Prince Charles' visit to the RCM in March 2012. Other premieres included 'No Stopping At Any Time' premiered at the National Portrait Gallery, ‘What Once Was’ for the RCM Saxophone Ensemble, 'Bright Lights' for the RCM Woodwind Ensemble and 'Ahamay', written for the debut performance of the RCM Drumline. Other works include ‘Elegy’, for the chamber group, ‘Flotilla’ which was premiered at St Martin-in-the-Fields and subsequently performed at The National Gallery and World Saxophone Congress. Charlotte’s soprano saxophone concerto, ‘Voyage’, written in 2007, was published by Australia based Reed Music and launched at the British Saxophone Congress in 2011. Charlotte was delighted to be asked to be the head composer for 'Britten – An Exploration' for which her string sextet 'Interlude' has been written for performance in March 2013. The project will see four RCM composers write responses to 'Interlude' as well as a painting commissioned from artist Jo Lewis.
I began composing whilst taking the BA in Music at the University of York. Prior to this, my music making consisted mainly of playing the trumpet in various youth orchestras and bands around North London, where I grew up. After much throwing away of material, I eventually produced a string quartet in my final year, which was selected for performance by The Kreutzer Quartet, and the music to an audiobook of Roald Dahl’s The Minpins. Since then, I have had pieces played and workshopped by Lontano, The Ligeti Quartet, Jane Chapman and The Fidelio Trio. I have recently completed the MMus in Composition at Kings College London, and hope to keep working on interesting projects with talented people who are excited about the potential of new music. We are pleased to announce that Ian Gardiner will be mentor for this project.
Ensemble 10:10 is the Royal Liverpool Philharmonic’s contemporary music group. Since its first concert on 22 November 1997 at 10.10pm, it has become established as a regular feature of Liverpool concert life, under the baton of conductor Clark Rundell. 10/10’s concerts are an eclectic mixture of new commissions, world premieres and contemporary classics given in an informal atmosphere. The Royal Liverpool Philharmonic has commissioned a huge range of UK composers for the Ensemble, as well as many from abroad. 10/10 explores the best new music from around the world, but equally it actively supports local composers – concerts always include music from the North West.
Kate Whitley, Sakoto Doi-Luck and Kim Ashton will be working with the Orchestra of the Age of Enlightenment
Kate Whitley is a 23-year-old composer and pianist who graduated from Cambridge in 2011 with a double 1st in Music and MPhil in Composition. She has written 3 operas to date: Bonesong, premiered in Cambridge Zoology museum, Unknown Position in an underground bar, and Terrible Lips in a disused warehouse. Her work has been supported by the Arts Council of England, PRS for Music Foundation, British Council Composers Travel Bursaries, The Holst Foundation, The Golsoncott Foundation, The RVW Trust, The Newton Trust, The Nicholas Boas Charitable Trust & more. In 2011 The Times wrote: “A generation tainted by nothing except enthusiasm, daring, virtuosity and idealism is blazing onto the scene. Kate Whitley is typical of this bold new breed.”
Satoko was born in Kobe, Japan. After gaining the Bachelor of Arts in Music Composition from the Tokyo University of Arts, she came to England to continue her education at the Royal College of Music, studying composition with Michael Zev Gordon and Kenneth Hesketh, and harpsichord with Robert Woolley as a scholar supported by the PRS Sir Arthur Bliss Foundation, the Alice Templeton Award and an Overseas Artist Grant from the Japanese Government.
Her major past achievements include a short ballet; Les Emotion, performed by the English National Ballet, choreographed by Van le Ngoc, and a piano solo piece which was performed at St. Pauls Cathedral as part of the City of London Festival. After gaining a Masters of Music in advanced composition from the RCM, Satoko is now based in London and enjoys composing music for a wide range of mediums.
Satoko is currently studying harpsichord with James Johnstone at the Trinity Laban Conservatoire of Music and Dance as a TCL Scholar. Recently, she performed Haydn’s The Creation with Nicholas Kraemer as part of Trinity Laban Classical Orchestra and Choir at the St Johns Smith Square and the Old Royal Naval College Chapel, and also Purcell’s Dido and Aeneas with Black Robin Opera. She has participated in various competitions and masterclasses including the Premio Bonporti International Chamber music competition for period instruments in Italy and the Osaka International Chamber music competition in Japan, Jeune Orchestre Atlantique chamber music masterclass (fortepiano) with Aline Zylberajch in Saints, France and most recently the Academy of Ancient Music Lab, Barbican.