Interview, Ned Bigham on Staffa

British composer Ned Bigham has had an eclectic musical career; after spending much of his early working life as a session-musician he went on to write and produce for artists including Amy Winehouse and Leona Lewis, and more recently has devoted his energies to large-scale orchestral works, with the landscapes and seascapes of Scotland acting as a recurrent inspiration. His first full-length album of symphonic music, Culebra, wove material drawn from folk-ballads and Jacobite songs into a series of luminous orchestral miniatures, whilst its successor Staffa (released last month on Aruna Records) presents four substantial tone-poems depicting very different islands.

Described as ‘the spirit of Fingal’s Cave for the twenty-first century’, the work which gives the collection its name was conceived as a multi-media project by Bigham and BAFTA-winning designer Gerry Fox and premiered at the Edinburgh Festival this year, alongside works by Shostakovich, Bliss and Vaughan Williams.

Our thanks to our friends at RSK Distribution for sharing this interview with Ned about the influences and inspirations behind the new album.

Why is the album called Staffa?

It’s named after the final work on the CD. The title piece, for orchestra and three large screens, was created in collaboration with BAFTA and Grierson award-winning visual artist Gerry Fox; it was premiered by the BBC Scottish Symphony Orchestra, conducted by Martyn Brabbins, at the 70th Anniversary Celebration Concert of the Edinburgh International Festival on 27th August and broadcast afterwards on Radio 3. Supported by Creative Scotland, Staffa also ran as a three-screen installation, with quadraphonic recording by the Royal Scottish National Orchestra, at the National Library of Scotland from 17-27 August, and drew crowds in excess of four thousand over the period. I’m delighted to say we have had great press and it has appeared in interviews/features on Radio 3 In Tune, Radio Scotland and Scottish TV among others.

Could you tell us a bit more about the music and setting?

Scored for full symphony orchestra, celeste and two harps, Staffa is intended as a dramatization of the fleeting moods of the Inner Hebridean island’s elemental location. Gerry Fox’s visuals pay homage to Mendelssohn's famous 1829 visit to its haunting Fingal's Cave by exploring the unique hexagonal, basalt column formations of the interior and its surroundings. Whilst inspired by Mendelssohn’s journey, I was conscious to avoid a pastiche of Mendelssohn so have strived to create something new.

The other works on the disc are further recent compositions, in which I have experimented with existing forms such as the Estampie and Pavane. The two sets of Archipelago Dances are intended as tone poems, whisking the listener off to imagined islands. Halmahera is scored for two canonic pianos and orchestra. Tegua takes the polka form as its starting point and then goes on an unexpected journey. The Two Nightscapes are more mysterious and haunting.

Could you tell us a little about your relationship with the Royal Scottish National Orchestra?

Working with them was a very rewarding experience. They are such a great orchestra, with such talented individual players. I was also lucky to be working with their Associate Conductor, Canadian maestro Jean-Claude Picard. He is a musical genius, with an incredible attention to detail as well as sensitive overall command of the works.

What or who do you consider as your major influences?

Well, the Islands and Highlands of Scotland of course! But also I am lucky enough to live in a very beautiful part of West Sussex, and the South Downs provide a constant source of inspiration. In terms of composers, I am a huge fan of Mahler, Debussy, Ravel, Messiaen, and contemporary composers such as Graham Fitkin and the Finnish composer Einojuhani Rautavaara.

What are your plans for the immediate future?

I am about to start work on a commission for the Shipley Arts Festival here in Sussex.