Future Classic Women Awards – Freya Waley-Cohen

Hello and welcome to future Classic Women Awards with me, Stefania Passamonte on women's radio station, the program where we search for the most amazing new female artist on the classical panorama. Today on future Classic Women Awards, we will be talking to Freya Welly Cohen, an exceptional British young composer. She's described as at once intimate and visionary by the BBC Music magazine. And she has been performed in Wigmore Hall, Royal Festival hall, The Sage Cattershead, St. John Smith Square, the Barbican Centre, the British Film Institute, the National Portrait Gallery. So an amazing location. Welcome, Freya. Hi. Freya was winner of the Royal Philharmonic Society competition prize in 2017 and you held an open space residency at Snake Moulting Malting. Like that. Yeah. From 2015 and 17, during which you collaborated with an architectural designer, Finbar Odemse and Andrews Cullina to create permutations. Can you tell us something about these? Yeah. Permutations was a really kind of long running project and it's something that I started up with my sister, Tamsin Whaley Cohen, probably about five years ago now. I had this idea that I'd love to create something in which you could walk around six equal parts and hear how they all fit together as a way of really being able to physically get inside, counterpoint and hear how it all fits together. So when Tamsin and I first started talking about this, we realized what we needed was some architects to come and work with us. So the next step was finding the right people. And I was lucky enough to meet Finbar, who introduced me also to Andrew. Who are these incredible pair of architects? We were really privileged and lucky to be part of the Snake Malting's open space scheme, which is where we developed it was really wonderful and supportive. And over time, this slightly broad concept developed into these six chambers in which each one housed one part of a six part piece of music. And each chamber is made up entirely of rotating doors so that the listener is completely in control of how they can mix the music together, which part they listen to each time, and what the acoustics are inside each part. They can also stand in the exact center and just listen to it all, or sit. There's even stools they can sit in the centre and listen to it all as one piece altogether if they like. Or they can move around, run around, sit in one chamber the whole time. There's so many options for how you can experience the piece of. And that was really one of the motivating factors for me is giving this autonomy over your experience back to the listener. That's quite unique, I have to say. I've never seen something like that. So it's basically like giving the audience sort of power to be co composing somehow, Right? Yeah. The way I sort of thought about it was the idea that they were. Yeah. They were sort of performing their own experience to themselves or perhaps composing, mixing. Mixing the parts together themselves, how they wanted to hear them. And it was premiered. The whole installation was premiered in June last year at the Albury Festival. Yeah. And it is due to go on tour relatively soon. That's amazing. Yeah. So it will be at the Dartington Festival in just over two weeks now and then it will be at the Royal Academy in November and the Royal Institute of British Architects next year. Now, I'm very curious because you released the Permutations and Unveil with Signium Classic in 2017. So what are we going to listen then? So what we're going to listen to is an extract from Permutations. But as I've just described, the whole idea of permutations is giving this freedom of how you can balance all the parts together and the different acoustics. So this, I suppose, is one version of Permutations. I suppose, as with every recording, it's a version, it's that person's interpretation. So I suppose this is my. My ideal interpretation of my own piece performed by my sister. And what's interesting is that there's six different parts, but each. Each one is performed by Tamsin or recorded by Tamsin. So you can really hear the oneness of expression, the sort of singularity of her voice in this recording. Wonderful. Let's listen to Permutation then by Freya. Willy Cohen, WRS women's radio station. Voice of Women Worldwide. Sarah's Universal Soul show what does your soul or spirituality mean to you? Welcome to future Classical Woman Awards with me, Stefania Passamonte on Women's Radio Station. Welcome back. I'm Russ Cain. You're listening to In Conversation with On Women's Radio Station. I'm Angie. And I'm Patsy and we're open. To see what other programs we have on Women's Radio Station, head to our website, womensradiostation.com hi, I'm Valentina Barbacci and I'm the Executive director of Media Matters for Women. We're a registered charity operating in Sierra Leone and the Democratic Republic of Congo, and we produce and share podcasts via Bluetooth on mobile phones, focusing specifically on women and girls excluded from information due to extreme poverty. We empower those living in rural areas with media that transforms how they access, own and share information. To find out more and be part of this movement, come check out our website@media mattersforwomen.org do you need mediation? We are the a project charity. We provide convict resolution and community engagement services. Our services include community mediation for neighbour disputes, family reaction for separating couples, special education needs for parents, carers and their children, and young adults, as well as workplace mediation and restorative services. To find out more, head to womensradiostation.com or theaproject.co.uk women's radio station is a fresh new broadcasting platform driven by love and passion. Connecting women around the world in a global network is all about diversity from opinions, career, ethnicity, education. We aim to show the individuality of every woman everywhere, providing opportunities and a platform for your voice. Women, the possibilities are endless. That's what makes us different. Mirae B Ltd. We are a virtual PA consultancy. We provide remote administrative services. Our offering is diverse. We manage your calendar, we update your client database, we take care of your property in France and in London. We also offer bookkeeping and translation services. Would you like to know more? Please call 077-8684-8998 for further information. Mirae B Limited making the life of the Business owner successful I'm Isabelle Manevy, an executive coach. Do you want to change a negative into a positive? We can do this by coaching you to rewire your brain using simple visualization techniques. In 20 years of practice I've seen this transform lives. For more information, look on Women's Radio website. Call me on 079-844-22171. I'm listening. Hi, I'm Vivian Arts, President of Women in Banking and Finance. Are you a woman working in the financial services sector in the uk? If you are not already a member then you are missing out on a FEN fantastic network which has been inspiring women for 40 years. We are a not for profit organization empowering women to network, learn and inspire each other at every stage of their career. Through our highly sought after events, we aim to improve diversity by working closely with government leaders and firms through our UK branches. Find out more at www.wibf.org and join a network to transform your career. Hi, I'm Sandy Goddard, founder of the Room Upstairs. A different kind of businesswoman's network. Imagine a lunch or dinner party sitting next to great connections, people who might help you. You have fun, do business, build relationships, top women speakers, good food and no membership fees. That's not selling, that's connecting. Join me and economist Ruth Lee CB 26 July and have your say on Britain and Brexit. Find out more and more@theroomupstairs.co.uk Women's radio station is a not for profit, community interest company. Supporting women is our passion. We're currently welcoming donations to help towards our running costs to keep this important initiative alive. To donate, simply head to our website. Every little will help. Welcome back to future Classic Women Awards on Women's Radio Station, the program where we search for the most amazing new female artist on the classical panorama. Today we are talking to Freya Wilcoin. She's an exceptional young British composer. Freya studied composition with Gilswayne at the University of Cambridge and with Simon Bainbridge at the Royal Academy of Music. And she has been studying with Oliver Nassen for her PhD that she's currently studying still at Royal Academy of Music. So I wanted to ask you how important it is, a PhD for a composer. It really depends on the composer, I think, because it's quite an individual thing. At the time when I started my PhD, I felt that I wanted to stay at the Academy and I also felt that I had, I needed or I wanted to have this space to develop some of my ideas and some of the slightly more unusual things I was doing. Things a bit like permutations, which were ideas about bringing the listener into the creative process and seeing how that would develop my style and my compositional voice while having incredible teaching from people there. It's. I mean, it can be quite important for composers just for the practical reason of maybe they want to teach later. And it's useful to have a PhD, why not? But it really is very individual to each composer. So have you been teaching? I don't teach regularly, but I do do bits of teaching for different things here and there. So, for example, I'm associate composer of an amazing night called Night Music in Wales, in Cardiff at St David's hall, and for that I mentor young composers who are commissioned to write for the series. And I'm about to again, in a couple of weeks, go down to Dartington Festival where I'll be teaching the open Composition course. So I do, I do teach, but it's not, it's not a sort of weekly thing. No, but it's something that you enjoy? Yes, I really do. It's really inspiring seeing younger composers and their ideas and the things that they're thinking about and worrying about and excited about. So definitely, if you, you know, if you had to say something, even to the audience, you know to young, aspiring composers that they're listening to you. Now, what would be your piece of advice, the most dear to you? I think one of the most important things that's quite hard to do for musicians and for composers is to kind of set your ego and sense of personal pride and self aside from your music and never let your, you know, the things, the sort of ideas about, you know, industry and career, never let them creep into your actual, you know, studio or your workspace. And that's one of the really important ways of making sure that your music is actually unique and true to yourselves and yourself and not worrying about what other people are going to think of it while you're writing. Now, I have a very tricky question. So you're a composer? Yes, but contemporary composer. But, you know, we can say you're a classical composer in the sense that you're not composing pop music and you just released something with non classical label. That is the label of someone I know. It's called Prokofiev, Gabriel Prokofiev. So how do you define yourself then? Is that non classical somehow fitting into this? Yeah, I think the kind of boundaries and ideas of these things are always shifting and kind of exploding, especially in the last, you know, maybe 10 years in London and I'm sure in many other cities around the world. Things that might traditionally have only ever been in one particular type of venue, like a concert hall, or might have only ever been in, for example, a jazz bar, are now coming together and influencing each other, but also being put on the same stage. I think the way that we listen nowadays digitally on, on the radio or on playlists, changes the way that we might want to engage with actual live music as well. You know, we can mix genres, we can listen to one classical piece, one pop piece, bit of jazz really easily, just through flicking through our phone. And there's no reason that the music that you think should be put together shouldn't be put on the same stage as well. And things like Non Classical series like Non Classical. I mean, Non Classical is more than a series, but they. They really go into quite unusual venues and give people a new way of experiencing things, which is something that's very dear to my heart. So the piece that we're going to listen to is Blutak for Sophie, performed by Sophie Bertdaniels at non Classical, released May 2018. So very recent. And this was Blue Tack for Sophie, performed by Sophie Bear Daniels at Non Classical. Freya, why Blutak? The name Blutak comes from a poem by an amazing young poet called Jo Surgeon. She actually wrote it originally for another composer to set and the other composer is actually funnily enough and completely coincidentally, also one of the associate composers of non classical. So that's Benny Giles or Benedict Giles. And it's just an, it's a very short four line poem and it's incredibly moving and that's what inspired this piece of wow. All right then. We will be back after the short break to talk more with Freya Willy Cohen about the music. 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We're currently welcoming donations to help towards our running costs to keep this important initiative alive. To donate, simply head to our website. Every little will help. Welcome back to future Classic Women Awards on Women's Radio Stations. The program where we search for the most amazing new female artists on the classical panorama. Today we're talking to composer Freya Williko. And Freya, I know you're also not only a composer but also the founding member and artistic director of Listen Pony, a concert serial commissioning body of a record label and a record label that programs classical music both new and old. How Is that so? It came about when myself and two other composers, Josephine Stevenson and William Marzi, first left university and came either to London or in my case, back to London. And we felt like we were part of a kind of network of amazing musicians who were just starting out and also and composers. And we wanted to find a platform for all of those people, but we also wanted to do it in a way that our friends who weren't musicians would enjoy going and feel comfortable. So again, going back to the ideas about mixing different genres and not feeling too restricted. It presents old music, new music and pop, jazz, any sort of non classical thing as well. So it's organized always in four sets with lots of intervals, relaxed atmosphere, never too much of a stage. There's never too much separation between the audience and the performers. And we commission, at the moment, we commission six new pieces every concert. And the record label came about a couple of years ago when Jonathan Gruber, who works for Apple Music, who comes to our concerts sometimes, said, you know, you've recorded all these amazing things, do something with it, you know, release it to people. So they're all live at the moment, they're all live EPs called our Live at Listen pony series of EPs, each focusing on one of our resident artists. So one performer who will have done some. Some of the older music, some of the new music, and occasional one of our pop artists as well. So we've released four so far and we've got another one coming out relatively soon. And this coming up, it's called the next one will be Live at Listen Pony Duo by Anella. So they are an accordion and cello duo. And the piece Water, which we're going to listen to later, is on that ep. So why the title Water? It's called Water because I think it just sounded like Water to me. It was one of those. For me. It's quite unusual for a title to come early on in writing a piece of the piece comes because the accordion and cello was such an unusual and actually really beautiful combination. These incredible lows and highs and sustaining sounds and all the different textures you can get from both of those instruments and combining them. I sort of really wanted to play with that and it kind of turned out to have a certain flow to it. Brilliant. Why don't we listen to it then? Water by Freya Willy Cohen from To be released soon with Lisen Pony. Sat sat. And this was Water by Freya Willikoen. Freya, do you have any favorite ensemble you compose for or instrument? Oh, interesting. I really like. I mean, I Love writing for violin. I grew up playing the violin, so that's probably part of that, but I don't know whichever. Sort of. One of the wonderful things about being a composer is that you don't always get to choose and so you're always being introduced to quite interesting new ensembles that you might not have necessarily thought of. So I, for example. Yeah, like with Walter, I didn't really expect to enjoy writing for accordion and I absolutely loved it. So, you know, it's good not to get too stuck in your favourites, silly questions that, you know, anyone may ask. For example, do you need to know how to play this instrument you write for? No, you don't need to know. It would be impossible. Well, for me, it would be impossible to write for orchestra if I had to know every instrument. But you have a kind of idea in what they can do. Yes. So do you work together with the artist, for example, that is going to play your music? Well, one of the really important things that I did while I was studying, and I think a lot of composers do, is work quite closely with a few instrumentalists that you don't really understand their instrument yet. So I worked really closely with, for example, a guitarist, a harpist, a bassoonist, to really understand how their instruments work. Fantastic. Well, we will talk a bit more after the break. WRS women's radio station, Voice of Women Worldwide. 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Email presentersomensradiostation.com if there's a topic you'd like to hear about or want to contact your favourite presenter, do get in touch. WRS women's radio station, Voice of Women Worldwide. Hi, I'm Vivian Arts, President of Women in Banking and Finance Are you a woman working in the financial services sector in the uk? If you are not already a member then you are missing out on a fantastic network which has been inspiring women for 40 years. We are a not for profit organization empowering women to network, learning and inspire each other at every stage of their career. Through our highly sought after events, we aim to improve diversity by working closely with government leaders and firms through our UK branches. Find out more at www.wibf.org uk and join a network to transform your career. Women's radio station is a fresh new broadcasting platform driven by love and passion. Connecting women around the world. World in a global network is all about diversity from opinions, career, ethnicity, education. We aim to show the individuality of every woman everywhere, providing opportunities and a platform for your voice. Women, the possibilities are endless. That's what makes us different. You know women are great at organizing things and saving money. Well, have you heard about the amazing booking site heathrow parking.com it's an airport parking comparison site without the annoying meerkats. Heathrowparking.com is the place to pre book your airport parking whether you're after a meet and greet or a park and ride service. Ladies, we're talking savings of up to 60%. What's not to love with gold FIFO reviews, fully flexible booking options and a best price guarantee, you'll find the perfect parking for you@heathrowparking.com hi, I'm Valentina Barbacci and I'm the Executive Director of Media Matters for Women. 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Welcome back to future Classic Women Awards on Women's Radio Station. Our guest today is Freya Willikoen, a British composer. Freya, among your pieces there is one that really makes me very curious. It's called Snapdragon. What is this title? What is it for? So a snapdragon is actually a type of flower which is really colorful and slightly toxic. It won't kill you, but it'll make you sick if you eat it, which I would not advise. And as I was writing the piece, it's quite a. It's one of my. It was one of my favorite pieces to write and it's still one of my favorite pieces of my own to listen to. It's a string quartet, but it's very conversational. When I'm sort of, when I'm having a conversation with my closest friends, we're constantly interrupting each other, constantly going off into weird diversions in the middle of a conversation, then coming back to topics. And it has that sort of really kind of exciting energy to it and constant changeability. So it sort of suited the colorfulness and sort of sort of intrigue of the words, Words and flower. Snapdragon when did you compose this piece? I wrote it last year. The deadline was 1 June for the Santa Fe Chamber Music Festival, which I was really, really delighted to be commissioned for just an incredible chamber music chamber music festival in the amazing and beautiful town of Santa Fe, which I was. How do you. Yeah, how did you end up in Santa Fe? Well, I saw it, I got. I was asked to write for it by Mark Nycrug, who runs the festival, who invited me out there because he met me the previous year at the Tanglewood Music Festival, which is another absolutely incredible place. Yeah. So you've been in Santa Fe. It's beautiful, isn't it? It's very inspiring place. Really inspiring. So much art, so many different meeting points of different cultures. That is in New Mexico. For who? Maybe don't know. Yeah. Really high altitude. Stunning red desert everywhere and beautiful adobe buildings. It's really unlike anywhere I've ever been. I don't know about you. Very unique. Well, my husband is from Denver, so. And we've been. It's a place they love to go, people from Colorado, so. Yeah, I can imagine. Yeah. People who are used to high altitude already. Absolutely. Yeah. And this. And we were there in June, I think, and. Yeah, so the weather is very hot, but the colors are crazy and. And the light is just on. On like anywhere else. It's so bright and so sort of dark. Yeah. Does the visual part of, you know, nature or things come into your composing like this? Snapdragon. Does it have anything to do with the visual of the flower or is with the effect of the flower, for example? I think I would say I quite often have a kind of visual, even if it's relatively abstract idea about a sort of overall concept for a piece when I'm sort of starting writing it. But it's quite hard to say how the two connect. Like how the actual sound will connect to that vision. It's sort of quite personal. Well, shall we make the audience to decide then? Let's listen to Snapdragon by Freya. And this was Snapdragon by Freya Velikoen. Freya, time for the odd question. Do you have any embarrassing moment in your career of a composer, like, I don't know, someone playing wrong, completely wrong, your pieces? I don't know. What could that be? I suppose because you don't have to go on stage, there's sort of less room for falling over or, you know, anything quite that embarrassing. But I don't know if they call you the concert, but yes, but there is always that terrifying moment. You've been a member of the audience, you're totally in your own head, and suddenly you've got to go on stage. And I am always worried I'm going to fall over, but I haven't yet. I'm sure I will at some point. I have gone on stage and forgotten to bow and before I walked off again because I was sort of thanking the performers instead. But I mean, there's always moments, especially early in your career where you have a performance where you think is that what I wrote was that my fault was that, you know, they just didn't quite get it. And I think that's partially just because it's really difficult to write music that's really easily performable, especially when you're just starting out. So definitely one of my first performances was a big learning experience. So any fear, for example, the scariest is the first rehearsal rather than the performance for me now, because that's when you find out all the little things that you had question marks in your head about. And in a way, you always should have a few things that you have a few question marks in your head because then you're always pushing yourself a little bit further to try a new thing that's sort of the risk and the fear. Wonderful. Well, next project, at the moment I'm writing a 20 to 25 minute orchestral song cycle. So quite a big project for the wonderful soprano Lauren Fagan and the Melos Symphonia run by Oliver Zafman. And that song cycle will be called Happiness. Wow. Can't wait to listen to it then. Yeah, that will be on the 19th of October at LSO St. Luke's in London. Perfect. So everybody write that down. 19th of October, L A Sauce St. Luke. Perfect. Well, thank you so much, Freya for coming in today. If you have any questions and you would like to ask to our guest or nomination for our Future Classic Woman awards, please email presentersomensradiostation.com or tweet us at Women for a chance to win two tickets at our concert of the finalist of the Future Classic Women Awards. A big thanks to our guest, Freya Wally Cohen for the great chat and the beautiful music played today. Thank you. Thank you. You've been listening to Future Classic Women Awards on women's radio stations live every day at 10am and 10pm London time. If you want to listen to it again or catch up on our previous programs, you can head to the presenter page. Stefania Passamonte Future Classic Women Awards on Women's Radio Station. Thank you for listening. WRS women's radio station Voice of Women Worldwide. This is Amy Liu, Voice of China at Women's Radio Station. Welcome to Future Classical Woman Awards with me, Stefania Passamonte on Women's Radio. After a long day, I like to sit in my bath with a glass of wine and listen to Women's Radio Kamrass Kate that you're listening to in conversation with on Women's Radio Station to see what other programs we have on women's radio station. Head to our website, womensradiostation.com I'm Isabelle Manevy, an executive coach. Do you want to change a negative into a positive? We can do this by coaching you to rewire your brain using simple visualization techniques. In 20 years of practice, I've seen this transform lives. For more information, look on Women's Radio website. Call me on 079-8442, 2171. I'm listening. I'm Angie. And I'm Patsy and we're open as a trans woman living in the centre of London in 2018. The show's about all the barriers I face on a daily level, but it's also about our life stories, how we got to where we are, how we stayed positive in the face of adversity and being more than just a label. It's about finding one's true, authentic self. But it's also about your stories too. So send us a tweet. Send us an email @presentersomensradio, the voice of women worldwide. Do you need mediation? We are the A Project charity. We provide convict resolution and community engagement services. Our services include community mediation for neighbour disputes, family mediation for separating couples, special education needs for parents, carers and their children, and young adults, as well as workplace mediation and restorative services. To find out more, head to womensradiostation.com or theaproject.co.uk women's radio station is a fresh new broadcasting platform driven by love and passion. Connecting women around the world in a global network is all about diversity from opinions, career, ethnicity, education. We aim to show the individuality of every woman everywhere, providing opportunities and a platform for your voice. Women, the possibilities are endless. That's what makes us different. Do you experience skin irritation, unpleasant odor or feel insecure worrying about possible leaks? Discover revolutionary and patented most absorbent, 100% ECO certified genial day sanitary napkins with tourmaline strip. So thin, so powerful, so genial. Leave behind embarrassing rashes, annoying skin irritations, leeks with your old menstrual pad. Order your free trial@jeannie lee.com you can also find us@womensradiostation.com do you dream of a wedding on the beach? Or maybe in the middle of a vineyard? Imagine your wedding in Italy, the land of Leonardo da Vinci and Michelangelo. Getting married in Italy in a venue that is magical and has natural beauty. Amoretti weddings create unforgettable moments. What you have to do is just relax and watch us. Make your wedding a real fairy tale. Contact us now for a free consultation www.amoretti.co.uk. Women's radio station is passionate about communication and we'd love any thoughts and feedback feedback on our programs. Email presenterswensradiostation.com if there's a topic you'd like to hear about or want to contact your favourite presenter, do get in touch. WRS Women's radio station Voice of Women Worldwide Mirae B Ltd. We are a virtual PA consultancy. We provide remote administrative services. Our offering is diverse. We manage your calendar, we update your client database, we take care of your property in France and in London. We also offer bookkeeping and translation services. Would you like to know more? Please call 077-8684-8998 for further information. Mirae B Limited making the life of the business owner successful Women's radio station is a not for profit community interest company. Supporting women is our passion. We're currently welcoming donations to help towards our running costs to keep this important initiative alive. To donate simply head to our website. Every little will help.