|01||Early Works||20120227||20150706 (R3)|
This week Donald Macleod visits Sally Beamish in her home near Loch Lomond, to talk to her about her work. Sally has been composing since she was a child but only set out on the path of professional composer after moving to Scotland in 1990, having already established a successful career as a viola player. Today she discusses her earliest commissions and how moving to Scotland, and motherhood, influenced her decision to become a composer.
No, I'm Not Afraid - Six poems by Irina Ratushinskaya
Geoffrey Cox (oboe)/ Swedish Chamber Orchestra / Ola Rudner (cond) / Sally Beamish (narrator)
Mary Wiegold (soprano)/ The Composers Ensemble/ Dominic Muldowney (cond)
Royal Scottish National Orchestra/ Martyn Brabbins (cond).
Sally Beamish tells Donald Macleod about her earliest commissions.
|02||Music Of Others||20120228||20150707 (R3)|
Sally Beamish talks to Donald Macleod about some of the pieces she has written that are influenced by, or based on, works of other composers, from Bach to Tippett. Two of today's works take Beethoven or Brahms as a starting point, but incorporate jazz techniques. She discusses her recent decision to learn more about jazz, and how this has affected her composing style.
Song of the Birds
Steven Isserlis (cello)
Fretwork/ Paul Agnew (tenor)
Chamber Concerto for Saxophone Quartet and Strings (movement 1)
Rascher Saxophone Quartet/ Stuttgart Chamber Orchestra/ Robin Engelen (cond)
Opus California (String Quartet No.2)
Emperor String Quartet
Debussy/Beamish Suite pour Violoncelle et Orchestre (movement 5)
Steven Isserlis (cello)/ Tapiola Sinfonietta/ Gábor Takács-Nagy (cond)
BBC Scottish Symphony Orchestra/ Andrew Manze (cond).
Donald Macleod talks to Sally Beamish about her music based on works by other composers.
|03||Poetry And Literature||20120229||20150708 (R3)|
In conversation with the composer at her home in Scotland, Donald Macleod looks at Sally Beamish's works that have been directly inspired by poetry and literature. They discuss her songs setting words by the 14th century Persian poet Hafez, an orchestral work evoking the Arctic landscape that inspired Mary Shelley, and a cello concerto that takes as its starting point the 'River' poems of Ted Hughes. One of Beamish's major works, the Concerto no. 2 for Viola and Orchestra, is based on the story told by a 9th century Anglo-Saxon poem, 'The Seafarer', and features the notated calls of sea birds mentioned in the poem.
Donald Macleod explores works by Sally Beamish that have been inspired by literature.
|04||Scottish Influence||20120301||20150709 (R3)|
Sally Beamish talks to Donald Macleod about the effect of moving to Scotland on her music.
Sally Beamish talks to Donald Macleod about the effect of moving to Scotland on her music, and the strong sense of culture and community she found there. The lively and responsive musical scene have fed into her work, and she has drawn on the inspiration of Scotland's landscape and its musical traditions, from Scottish fiddle playing to music for bagpipes.
Gala Water (Extract: mvt I)
Robert Irvine (cello)
Chamber Concerto for Saxophone Quartet and Strings (Extract: mvt 2)
Raschèr Saxophone Quartet/ Stuttgart Chamber Orchestra/ Robin Engelen (cond)
The Imagined Sound of Sun on Stone
John Harle (saxophone)/ Swedish Chamber Orchestra/ Ola Rudner (cond).
|05 LAST||Friends And Family||20120302||20150710 (R3)|
In the last of this week's programmes Donald Macleod talks to Sally Beamish about works that are connected with her friends and family, from works commissioned by two supportive patrons who have become like 'musical parents' to her, to those that have been requested by friends who are concert performers.
In the Stillness
Bridging the Day
Robert Irvine (cello)/ Sally Beamish (piano)
Violin Concerto (Extract: 2nd movt)
Anthony Marwood (violin)/ Royal Scottish National Orchestra/ Martyn Brabbins (cond)
God of the Moon
Choir of St. Giles' Cathedral/ Michael Harris (cond)/ Peter Backhouse (organ).