I’ve been commissioned by the Academy of St Martin in the Fields to write a piece to mark the centenary of Britten’s birth. It’s a very exciting commission because I used to play with the Academy, as my mother did before me. One of the pieces that we both played with the orchestra is Britten’s Variations on a Theme of Frank Bridge, and I thought it might be an interesting idea to do my own variations on a theme by Britten. 

I’ve taken the theme from the second Sea Interlude of Peter Grimes, ‘Sunday Morning’, the big viola and cello theme, it actually proved much more difficult than I thought! I think I gave myself a harder job than I initially thought I had. I probably should have just taken a Purcell theme instead...

The problem is that it’s really difficult to write variations on a theme of Britten without just sounding like Britten. And of course I don’t want this to be a pastiche Britten piece, I want this to be my own, yet it’s amazing how strong his voice is, and how it creeps in to the music. Maybe it’s more obvious to me than it would be to an outsider, because they would hear my voice more clearly, but it has been a worry all the way through. Some births are easy, some are hard, and this was definitely a hard one.

The Variations on a Theme of Frank Bridge are cast in a set of tiny dances, and I’ve borrowed that idea as well. But instead of a chant there’s a paen and instead of a funeral march there’s what I’ve called a ‘requiem’, which is kind of a lament for those lost in war, reflecting Britten’s and my own pacifist beliefs. There are references to other composers too, just as Britten referred to other composers in his Variations. I’ve referenced composers who have a connection to Aldeburgh and or who are very special to me, but they hidden, so they may not be obvious to the listener. 

From the beginning

When I was eight years old, my mother took me to a dress rehearsal of Peter Grimes at Sadler’s Wells, she was playing in the orchestra, and it made a really lasting impression on me, particularly bumping into Peter Pears in full costume backstage. He was quite a formidable figure. And when I got home I started writing my own 'storm music', I was particularly taken with the Sea Interludes and so they seemed a natural starting point for this piece. That was my earliest memory of Britten. 

I’ve composed for as long as I can remember. My mother taught me to read and write music when I was four (before I could read and write words) and I immediately started wanting to write my own. I was quite indignant if someone else’s music was put in front of me! So music was always the most natural form of expression for me and it has remained so ever since. 

I studied viola because it didn’t occur to me that I could earn a living as a composer and I thought  playing viola was a good way to earn a living. After a while I realised that I just wasn’t getting enough time to compose, so after 10 years as a freelance viola player in London, getting lots of experience playing contemporary music, working with composers like Knussen, Berio (and managing to blag lessons off them as well), I moved to Scotland and stopped playing. I haven’t played the viola for a long time now. 

When I was playing with the ASMF, Neville Marriner was aware that I was also composing and he kept asking me to give him something to listen to, which in the end I did, and he sent me a lovely letter saying that he would like me to write something for the Academy at some point. And I really didn’t feel ready to do it then, I hadn’t written for orchestra at that point, even. But a couple of years later I got back in touch and I said – any chance I could do it now? And he said absolutely, and welcomed me to do it. So I wrote a piece called Walking Back, which was done in the Royal Festival Hall for their 35th anniversary, and they then went on to commission a cello concerto. So it was a lovely thing that Neville had that faith in me, because I hadn’t demonstrated any experience or anything… I’m really grateful for that, it was a fantastic chance. 

The Academy of St Martin in the Fields

One thing I was very conscious of whilst writing this piece was the special democracy that there is at the ASMF. Each player is a soloist, and Neville Marriner used to draw on that frequently. When we were doing recording sessions, quite often we would do a couple of takes and then he would suddenly say ‘OK, this time – Sally, you play the solo’. I think he enjoyed the fact that every one of his players could do it and wouldn’t be fazed by it, although one’s knees were shaking of course! So I’ve echoed that in this piece in using back-desk solos, and solos from everywhere in the orchestra, and also quartets, quintets, and all sorts of chamber scorings. 

I’ve recently been told that Stephanie Gonley will be leading and directing, which is great news for me because she premiered my First Violin Sonata many years ago, so it’s lovely to reconnect with her. And also the principal bass will be Linda Houghton who is an old friend and played in the Academy when I did. So I’m looking forward to going over the score with them and getting advice and making small changes. 

Recapitulation

This piece has taken me in some quite unexpected directions. It’s certainly made me more consciously aware of the relationship I’ve had with Britten’s music since I was eight years old. It’s always been there, under the surface. I remember playing Les illuminations as a student and being just completely fascinated by this piece. I couldn’t work out why it was so magical. I got the score out in the library and just stared at it wondering, ‘why is this so special?’ It looks so simple and yet there’s a kind of magic in it. 

The musical culture now is much more open than it has ever been, so people don’t make judgements the way they used to about style: good music is just good music. What I love most about Britten is that he was a great craftsman, but also very practical. He was writing for film, writing for communities, for children, and I just love that about him, he reinvented himself all the time.

Interview by James McCarthy

Sally Beamish's Variations on a Theme of Benjamin Britten will be premiered by the Academy of St Martin in the Fields at Turner Sims Concert Hall, Southampton, on May 9.  

Further listening: Britten and Beamish Spotify Playlist

Tweet