Marc Yeats - music biography (April 2010)

Marc Yeats began composing in 1994. Since then he has received performances from among others, The Edinburgh String Quartet (UK), the Chamber Group of Scotland (UK), Psappha (UK), Richard Casey, the London Sinfonietta (UK), the Endymion Ensemble (UK), Lonba (Argentina), Paragon Ensemble (UK), the Scottish Chamber Orchestra (UK), illegal harmony (UK), 175 East (N.Z.), Sarah Watts, SCAW (UK), Sarah Nicolls, Federico Mondelci, the Commonwealth Sinfonietta (UK), Contempo Ensemble (Italy), Rarescale (UK), The Scottish Clarinet Quartet (UK), Symposia (UK), the New York Miniaturists Ensemble (USA), Trio IAMA (Greece), The International Concert Brass Soloists (Switzerland), Dirk Amrein (Germany) Expatrio (UK), Chroma Ensemble, the BBC Philharmonic Orchestra (UK), the Hallé Orchestra and Chorus (UK) conducted by Sir Mark Elder, Tokyo City Philharmonic (Japan) and Gewandhaus Radio Orchestra (Germany), with broadcasts on BBC Radio 3, BBC Radio Scotland as well as German, EU, Hawaiian, Japanese and New Zealand radio.

Marc is Composer-in-Association with Manchester Pride.

Marc’s music can be found on itunes, Amazon mp3 and Spotify.

To hear more substantial extracts of Marc’s recent works, please visit:

http://www.myspace.com/marcyeats

In 1997 he was commissioned by the St. Magnus Festival to write the anatomy of air (25 mins.), for the Scottish Chamber Orchestra. The premiere was conducted by Sir Peter Maxwell Davies. Later in that year the BBC Philharmonic Orchestra performed I see blue, also conducted by Sir Peter Maxwell Davies and Psappha gave the world premiere of pumping iron (20 mins.) for ten musicians, in Manchester. The Endymion Ensemble gave the work its second performance at the South Bank, London in April 1999. I see blue has so far been broadcast 3 times on BBC Radio 3.

In 1996 Marc was awarded a three-year composer bursary by The Scottish Arts Council to enable him to compose full time.

In November 1997, pagan II for orchestra and is it me? (Cl, Vc, Pno) were premiered in Tokyo as part of The Next Millennium Composition Award. pagan II was premiered by Tokyo City Philharmonic Orchestra. The event has been broadcast in Japan. In 1997 Marc was also awarded a two-year composition bursary from the Hope Scott Trust.

In February 1998, room (12’ for Piano), was given its premiere by Richard Casey in a Psappha promoted concert in Manchester, it has subsequently been performed in the 1998 Cheltenham Festival and throughout the UK. In February 1999 pagan II was recorded for broadcast on BBC Radio 3 by the BBC Philharmonic Orchestra, conducted by Sir Peter Maxwell Davies.

In December 1999, a waiting ghost in the blue sky (Cl. Vc. Pno Percussion (1)) was premiered by Contempo Ensemble in Prato, Italy. November 2000 saw Sir Peter conduct I see blue with the Gewandhaus Radio Orchestra in Leipzig. This concert has been broadcast in Germany. Other commissions include a new work for The London Sinfonietta and a commission from the BBC to write a work for piano and orchestra for Kathryn Stott and the BBC Philharmonic. The round and square art of memory was premiered in February 2000 in the Bridgewater Hall Manchester. This work has been broadcast on BBC Radio 3 twice. The summer of 2000 saw a waiting ghost in the blue sky performed by Psappha at the St. Magnus Festival. The piece was broadcast on BBC Radio 3.

In March 2001, a new work for solo alto saxophone, metaphors of battle and conquest, commissioned by Kathryn Stott for the Italian saxophonist Federico Mondelci, was premiered at the Bromsgrove Festival. In September 2001, the premiere of only the trees will whisper in the dark (Alto Flt. BCl. Vln. Vc. Pno) was given by the Commonwealth Sinfonietta at the Lemon Tree in Aberdeen and later performed in London.

2002 saw the commissioning of several new works including vox for solo bass clarinet (Sarah Watts) and davy jones' locker (175 East, New Zealand), which was also recorded for New Zealand F.M. mad canary, for solo piccolo, was also given its premiere in New Zealand later that year. October 2002 saw the premiere of colour songs, (high soprano, flt (picc). Cl (bcl) vla. Vc. (35 mins)) by illegal harmony with a tour of five Scottish islands, It was commissioned by Hebridean Music Workshops with funds from the Scottish Arts Council National Lottery.

2003 saw the premieres of hunting magic for flute and piano (Rarescale), whereto my wishes lie for bass clarinet and piano (Sarah Watts), and jigsaw for clarinet, trumpet, double bass, piano and timpani drum (Paragon Ensemble) and for there's a kind of world remaining still for string trio in November (illegal harmony).

February 2004 saw the premiere of repeat offenders, a bass clarinet duo, with Henri Bok and Sarah Watts at the RNCM in Manchester and illegal harmony premiered ASCII dialogues for soprano and alto flute and have heard this dialogue of one for alto flute solo. Further premieres in 2004 include two performances of objects that the sense delude for wind quintet and piano, by Lonba in Buenos Aires, Argentina and in June, stillness in movement, for eight instrumentalists (commissioned by An Tuireann Art Centre with subsidy from the Scottish Arts Council), was premiered by illegal harmony. A commercial recording of this music was produced. Also in June where do these voices stray, for bass clarinet and Bb clarinet, was premiered by Henri Bok in Washington, America, with subsequent performances in China and Europe. ASCII dialogues is to have its London premiere at the RCM in July - the sea bell's perpetual angelus and an interrupted passacaglia, for solo piano, was premiered by Sarah Nicolls in Somerset in September. Later that year a fractured melody for alto flute and piano, received its world premiere with Rarescale in London.

2005 will see more performances and premieres. In January a fractured melody will receive its American premiere with Rarescale in New York. In February, tales of enchantment for bass clarinet, (commissioned by Henri Bok), will be premiered at Rotterdam Conservatoire, Holland. In February,I have a charm for bruising for string trio, will be premiered by illegal harmony trio. Have heard this dialogue of one for alto flute, will have its London premiere with Carla Rees. In March and April, my songs, for soprano, clarinet and cello, and hocus-pocus, for wind trio, will receive their premieres with illegal harmony at An Tuireann Art Centre. Also in April, torment of the metals, for chamber orchestra and soprano, will be premiered at Rotterdam Conservatorium, Holland. May will see the second London performance of ASCII dialogues with Rarescale. July will see the London premiere of Hunting Magic (pno and flute) with Rarescale.

In October 2005 Marc was awarded first prize (1500 euro) in the World Bass Clarinet Conference's Composition Competition for his new work for bass clarinet and piano, child to the black faced night. This work will be used as the test piece for the finals of the WBCC performance competition and is to be published by the WBCC 2005. Sarah Watts and Antony Clare are also to perform whereto my wishes lie, (bass clarinet and piano) at the WBCC.

In 2006, mimesis for bass flute, cello and piano and the viciousness of circles (piano), will receive their world premieres by Rarescale in London. Paul Goodey is also to give the world premiere of a journey to nowhere in particular (for oboe and piano) and Sarah Watts will give the UK premiere of tales of enchantment (bass clarinet solo).There is also a project to record a selection of Marc's chamber music for commercial CD, includingobjects that the sense delude (sextet for wind and piano), passions of a discontented mind (bass clarinet quintet)and my songs (soprano, bass clarinet and cello). It is also Marc's intention to enable this website to download complete MP3 files of his works onto home CD for those who wish to purchase recordings direct from the composer.

In 2006, mimesis for bass flute, cello and piano and the viciousness of circles (piano), will receive their world premieres by Rarescale in London. Paul Goodey is also to give the world premiere of a journey to nowhere in particular (for oboe and piano) and Sarah Watts will give the UK premiere of tales of enchantment (bass clarinet solo).

In 2006 two new works were also premiered in New York by the New York Miniaturists Ensemble: Array (cl, Vln, vla) and Hinterland 1 (digital). In September, Helen Jones, a music theatre piece for Soprano, alto flute and digital sound environment (2006), was given its premiere at An Tuireann Arts Centre with Natalie Raybould (voice) Carla Rees (alto flute) and Micheal Oliva (electronics).

A selection of new work and commissions since 2007

'Fallen Angel' Scottish Clarinet Quartet: work for bass clarinet quartet and percussion - duration 9 mins. (July 2007) Premiered August 2008 – Edinburgh Festival.

'Sea Change' for Symposia: work for flute, violin, 'cello, trombone and digital sound environment - duration 17 mins. (June 2007) Premiered November 2007 – Glasgow.

A new album of 5 'dance' pieces exploring contemporary dance rhythms and avant garde/electro-acoustic techniques. Scheduled for completion in the winter, 2008. Supported with a Creative Development Grant from the Scottish Arts Council.

‘Strange Geometry’ Trio for flute, cello and piano for Trio IAMA. (with professional development funds provided by HI~Arts)(2008) Premiere Nicosia 2010.

Caliban's Dream - a new work for solo acoustic guitar. (2008) To be premiered by Timo Kohornen (Finland) in 2010.

New work for brass quintet "....the other side of air" - commissioned by International Concert Brass Soloists (Switzerland) - 14 minutes duration.(2008)

‘Marching With Ethel’ - Piano variations on 'March of the Women' by Ethel Smyth duration: 9 minutes - commissioned by Manchester Pride Festival: Premiere to be given by Stephen Combes on the 18th August in Studio 7, BBC Manchester, Oxford Road, Manchester. (2008)

‘My Blood is as Red as Yours’ New work to celebrate World Aids Day. Setting one song from a song cycle created by Jackie Kay - for soprano, baritone and the Hallé Orchestra and Chorus - conducted by Mark Elder - Duration circa 13 minutes. Premiered at the Bridgewater Hall, Manchester on 1st December 2008.

‘Cerberus’ New work for Dirk Amrein (International Concert Brass Soloists) for four trombones (three pre-recorded by Dirk and digitally treated as part of the composition process to create a performance sound track - 4th trombone strand is performed live. Anticipated completion: Winter 08. Duration: circa 15 minutes. Premiere in January 2009 (Switzerland and Germany) (itunes, amazon mp3 and Spotify)

‘Soft Geometry’ – trio for flute, cello and piano, for ‘Expatrio’ premiered at The Buxton Festival, July 2009

‘Conversational Geometry’ 2009 – trio for amplified acoustic guitar, tenor trombone and piano, for Dirk Amrien to be premiered in Brazil, Switzerland and Germany in autumn 2010. The Basel premiere is to be recorded for broadcast on Swiss Radio.

‘Sentinel’ 2009 – New multi-tracked work for Dirk Amrein and seven bass trumpets for download. (itunes, amazon mp3 and Spotify)

‘Ascension’ 2009 – New multi-tracked work for Dirk Amrein and twelve Alp Horns in F sharp for dowmload. (itunes, amazon mp3 and Spotify)

‘Shadow, and the moon’ 2009 – for Flute, Clarinet, violin, ‘cello, marimba and piano - written for Kokoro to be premiered summer 2010. Dedicated to Errollyn Wallen.

‘orare’ for bass trombone and piano (dedicated to Dirk Amrein and Jürg Henneberger) duration circa 14 minutes. December 200 to be premiered in Brazil, Switzerland and Germany in autumn 2010.

rhêma  (2010)

For harpsichord. Commissioned by BBC Radio 3. First performance by Mahan Esfahani, Leeds, October 2010. Subsequent broadcast on BBC Radio 3 scheduled for early 2011 (dedicated to Mahan Esfahani) duration circa 10.5 minutes. February 2010

schlink’s approximation (2010)

For clarinet, violin and piano. Dedicated to Les Pratt. Commissioned by Manchester Pride to celebrate the centenary of the birth of Samuel Barber. First performance 27th August 2010 – Manchester with Chroma Ensemble.

In April 2010, marc was appointed Composer-in-Association with Manchester Pride.

Also in April 2010, Marc Yeats along with his collaborators, Ralph Hoyte (poet) and Phill Phelps (coder) were named in the national press as one of six projects to be finalists in the prestigious PRS Foundation’s New Music Award 2010, the most significant award for music in the UK, with their innovative project SATSYMPH.

SATSYMPH

This is a collaboration between south-west-based composer and artist Marc Yeats, poet Ralph Hoyte and coder Phill Phelps which will allow people to create their own “satellite symphony” through an iPhone app. Music and words will be triggered by satellites depending on the direction in which the user moves. The judging panel said “it harnessed current technology in a creative way”.

Marc Yeats, Ralph Hoyte and Phill Phelps said: "What is music? What is poetry? It's hard to believe that we are now so close to realising SATSYMPH. We feel as if we are riding the crest of a technological wave that will create a totally new paradigm of what music and word-music fusions are, how they are created and how they are experienced. SATSYMPH offers that rare opportunity to move one's work into a new arena - to the next level of innovation. We can't wait to get cracking.” 

Final results will be announced in September 2010.

Marc was also appointed as an artist assessor for Arts Council England in late 2009.

About Marc’s work:

‘The genesis of his work stems from two major influences on the composer. Yeats' own initial musical experiences delineate nostalgia for the English Pastoral School (exemplified by Bax, Vaughan Williams and Moeran) casting an acute emotional impression and a diametric opposite; matched by his passion for and fascination with avant-garde expressionism and experimentalism awakened from the 1960s and '70s.
Being also an acclaimed landscape painter Marc Yeats' work with colour, form and texture inform his ideas on musical construction and content. As his illustrative aptitude intensified he observed: 'I moved decisively from representational to abstract art. With a rising technical repertoire, so too grew my conviction of creating an individual compositional language by exploring these modes in a musical context. In I am Nature, both threads are transformed through my "painterly ear" to assimilate and evoke a very personal, natural and unselfconscious outpouring of sound.
On first hearing, the music may seem arbitrary, improvisational or even chaotic. This is not the case. Consciously the music doesn't operate within the logic of number series, motific development, Fibonacci-based proportions, functional harmony, magic squares, tone rows or any of the customary gamete of compositional techniques. Another rationale is operative; a personal logic rooted in "self experience" of the techniques and processes of abstract painting.'

Excerpt about Yeats’ work from ‘I am Nature’ edited by Keith Evans

Marc Yeats was born in London in 1962. His career encompasses painting, nursing, composition and educational projects which relate to several aspects of his talent. He lives and works in Crewkerne, Somerset.