Ahead of the LSO Panufnik Scheme Workshops on 31 May, composer Litha Efthymiou to discusses her brand new work for orchestra, Through that Twilight Sky.
There are moments of brutal chaos, which contrast with delicate lightness.
Litha Efthymiou
What inspired you to become a composer and when did you start composing music?
I’ve always been interested in putting sounds together to reflect the world as I see it. I started composing music seriously from the age of eleven. I was lucky enough to have had the most amazing music teacher, who encouraged me to write music for live instruments (never midi) as soon as I started at secondary school. This was a huge inspiration and influenced my choice to become a composer.
When starting a new piece what are the first steps you take?
Planning the piece, in terms of finding a sound world I’m interested in, and thinking about how I can successfully create this soundworld. I also listen to lots of music whilst following scores.
Where do you find inspiration?
I’m inspired by several topics and ideas: literature, philosophical concepts, Greek myths, UK politics, as well as medieval music. Each of these topics, and others, have inspired my work.
What can you tell us about your new piece Through that Twilight Sky?
The piece seeks to create a sense of movement and trajectory within otherwise static musical structures. There are moments of brutal chaos, which contrast with delicate lightness.
What can we expect to hear in this piece?
I use layered pitch sets to create a colourful melodic blurring effect, chordal blurs – that is, chords that descend into microtonal clouds – which slowly morph from one to the next, as well as expansion and contraction devices – mainly expanding and contracting wedge like forms – to create a sense of opening up and closing down. I juxtapose these slow moving, static, ideas with ideas that create a sense of trajectory and forward motion, such as brass fanfares and emphatic climaxes.
What has your experience been like on the LSO Panufnik Composers Scheme?
It’s been the most amazing scheme. I have enjoyed hearing the works of my fellow composers, as well as having my pieces played by LSO musicians. Feedback from Colin, Christian and Errollyn has been insightful and so useful. It’s been the most inspiring process.
What piece of advice would you give to anyone who wants to start composing or writing music?
Write for real instruments from the start (if that’s your goal eventually), consult with musicians whilst you are writing, if this is possible, and go to as many concerts as you can to get an idea of what others are doing and to fully immerse yourself in the world of new music.
