As a composer and painter, I have a deeply held interest in the psychological and perceptual/ emotional/intuitive associations between these two media and how ideas can be transacted one to the other. As well as creating four new string quartets I will also keep a video diary of the residency and creative experience, make sketches and paintings (on location) of the built and natural landscape features to explore transduction between the physical environment and sound construction transforming (intuitively) visual ideas into notation – landscape into sound. 

SPUD say:
“Marc’s intention is to compose new, experimental, string quartets inspired by the various residency locations is an excellent fit with the ethos of the project and will enhance both its scope and impact as a result of his aim to focus on all four Observatory sites across the two-year period of the project, bringing a new perspective to the single site focus of the other appointed artists-in-residence. As an artist with an established track record in musical composition, Marc is bringing a new element to the project in an artform that is not represented in the artists appointed to date. Year One of the project will engage with the residencies in the Observatory at Winchester Science Centre and Lymington/Keyhaven, Hampshire”.

The opportunity to look in, look out, up, down and around; to explore the work of other artists in residence and use these observations, themes, sounds and discoveries to build my own string quartet compositions, paintings and sketches, site-specifically informed, is a fantastic new opportunity to build work in relation to the Observatory, the land and what it inspires. The four Observatory quartets will be freestanding, independent works forming a much larger-scale composition reflecting my experiences across all four residency locations.

This first residency is based in the heart of rolling chalk landscape and the very particular scenery, geology, archaeology, flora and fauna it supports. I already have a deep affinity and love for this ‘species’ of landscape but still have no idea how the processes of composition and its underpinning research, including paintings and sketching will develop and reflect these qualities. I have an open mind about what I will encounter and what will interest and stimulate my imagination to create new work. It is both exciting and a little scary. It’s certainly a big adventure. ‘no man’s land’ refers to an area north of Winchester Science Centre where the first residency was based.

observation 1.5 is an unforeseen extension to the work undertaken in the composition of the quartets as it uses material from observation 1 in new contextual relationships.

Timecode-supported polytemporal composition – notes:
The instrumentalists play independently of each other. Music is cued to begin only with instruments starting at the same time. There is no ‘fixed’ synchronisation between the instrumentalists. Whilst the relationship of each instrument is flexibly placed against its neighbour, care has been taken to calculate potential outcomes of coincidence and variability. To this end, it is vital that metronome markings and time code are adhered to as accurately as possible although the composer appreciates that it is the various interpretations and practicalities inherent in the realisation of tempi that contribute to the richly unique nature and interplay of each performance.

Compositional material is derived from a series of distant variations that unify all sections with thematic landmarks. The thematic material is audible throughout the piece, bringing cohesion and structure to the work. All the instrumental roles are written to a high degree of virtuosity and most contain extended techniques and quarter-tones. The music itself forms dense, highly complex and constantly changing relationships that are frequently wild and sometimes beautiful.

The score and parts
I have not produced a score for observation 1.5; difficulties and variables associated with displaying the musical material in vertical alignment as represented in real-time are considerable. Each performance will yield somewhat different results, interplays, gestural and harmonic references and outcomes. As a result, the material contained within the piece can only be read via the instrumental parts. Consequently, there is no definitive performance of the piece. observation 1.5 can only be realised through performance (as opposed to comprehending by reading through a score); this is the nature of the music – it has to be experienced to be ‘known’.

circa 14.5 minutes in duration.