I first experienced snorkelling and scuba diving off the
Great Barrier Reef in Australia. I was immediately thrilled by the
intricate movement patterns of the densely packed schools of tropical fish with
their colourful bands and eye-catching shapes. The outline of the shoal
is ever changing with movement from inside to the edge of the formation and up
and down. They barely touch and at the least alarm will bunch together
and dart away.
This adventure sparked off strong ideas - textural shades of light and dark in
varying depths, smooth and intricate shapes contrasting with angular and
darting movements and the change of focus from a large sound world to a
solitary sound. Sliding strings wash over the quietly busy wind and brass
as they wheel and dart off unexpectedly. Towards the end a percussion and
harp cadenza highlights the calmness of the brilliantly lit shallows of the
reef with its sustained sounds and motionless nature. The orchestra
finally charges to the end, only stopping when it comes Straight to the
Point.
Straight to the Point was premiered by the Ulster Youth
Orchestra then performed and broadcast by the RTÉ National Symphony Orchestra
in 2006 and later that year toured throughout Finland by the National Youth
Orchestra of Ireland. The Ulster Orchestra performed Straight to
the Point during the 2009 BBC Radio 3 Invitation Series in Belfast
with conductor Jane Glover and broadcast on BBC Radio 3. It was a
featured piece during Elaine’s 2010 RTÉ Horizons Series. Later this year
a CD of all Elaine’s orchestral works will be released on the RTÉ lyric fm
label featuring the RTÉ National Symphony Orchestra and conductor Gavin Maloney
as part of the Composers of Ireland series.
Jacqui McIntosh, Journal of Music Ireland:
“Straight to the Point was influenced by Agnew’s
experience of scuba diving in Australia’s barrier reef. Agnew makes use
of the bass clarinet and vibraphone to effect...weaving the instruments’ voices
through textured layers of orchestration. ....the long held notes also
made an appearance in Straight to the Point where they more
strongly implied sounds travelling through water and whales’ song.
Angular melodies conveyed the jerky dance of shoals of fish, this same theme
returning later in a more legato and graceful form. Especially effective
was the 6-strong percussion section who used a gamut of objects including
tubular bells and buckets of water to create an impression of an underwater
world. Agnew has remarked that the gestures of the performers as they
play give direction to her work. As the strings re-entered, bows in
unison, the fish’s angular dance was not only reflected in the notes played but
also by their movements. Straight to the Point ended an
excellent programme and (along with Heaven is Closed) was the highlight of the
concert - both pieces played perfectly poised in the balance between restraint
and letting rip”
Andrea Rea, Belfast
Telegraph:
“Agnew’s music often employs small forces and manages
always to convey the worth of every instrument used. This work, on a
larger orchestral canvas, retains that sense of every sound having a purpose
and each note being heard. Straight to the Point takes
us underwater, and the composer turns her eye towards the creatures swimming
there, their strange world conveyed with magical percussion effects in a
particularly effective middle section”
Andrew Johnstone, Irish
Times:
“The third of this year’s RTÉ Horizons concerts
generated a memorably bright and upbeat atmosphere. The selection of
contemporary works by featured composer Elaine Agnew took in some challenging
enough listening but what made it especially engaging was the range of colour
and the zestful delivery.
And with Straight to the
Point, Brophy’s reading happily brought out a fierce individuality in
the score.” |
