Archives for posts with tag: Arts

There are several instruments that immediately come to mind that will be suitable for this production. I do need to think about as many instruments as possible, within practical limits, to give me as much choice with texture and colour as possible. For example, a piano for all its versatility, drums and percussion for their rhythmic and archaic effects, a flute of sorts (probably a Slovakian Fujara) and quite probably an electric cello (for its combination of  real and strange sounds).

I was recently in the gallery ‘Uffizi’ (Florenceand saw in the picture ‘Perseus Freeing Andromeda’ by 16th century artist Piero di Cosimo, an instrument that looked like a cross Hurdy-Gurdy with a Flute/Bombarde.

Given the mythological influence of this scene, I am aiming to capture some of its resounding imagery in elements of my musical score. In the forthcoming blogs I will present some video clips of my early ideas and themes.


Now an understanding between the director and myself has been found regarding creative desires and needs, I now turn to think more specifically about the musical styles for this production. As with most theatre productions that I write for, the music will take several formats. These formats include  sound effects (which are usually recorded), recorded music and live music.

Both the recorded and live music is further divided into underlying atmospheric music (designed to enhance the mood of a given situation),  thematic music (designed to announce certain characters or activities), songs (often sung by one of the performers but may also be performed by myself) and functional rhythmic music (designed for use with movement and action scenes).

 Medusa by Caravaggio 1597


I was approached by Helen Wragg to compose and perform music for her production of ” The Odyssey” by Homer. Originally a poem written in 800 B.C.E. telling the story of a journey by the Greek hero ‘Odysseus’. Obviously the original text is in Greek, the leading english translation from is made by Samuel Butler, an adaptation for stage has recently been made by Matthew Kinloch.

Generally, my first stage of composing music for theatre (after confirming dates and fees and all manner of practical technical issues), is to get an understanding of the work itself  attempting to develop a profound comprehension of the concept and try to grasp  the directors version of the piece.

Here is a link to the original translated poem with further explanation.


Since September 2011 I have been studying part-time a Foundation Degree in Music Industry Entrepreneurship ( the University of Glamorgan, Wales,

my principle mentor throughout the course is Dr Paul Carr, check out his blog. . The other course tutor is Jon Goode.

As the course allows accreditation for prior learning which can be translated into prior experience, it has also caused much personal reflection as I delve into the ‘Pavey music archives’, (over 25  years of material). I have also picked-up the technique of academic essay writing which has been an interesting task.

Having finished an exceedingly busy 2010/2011 season with 5 premieres in German, Swiss and Cypriot theatres, over 50 performances and four compositions for dance choreography. The following season (2011/2012) would usually be spent practicing my various instruments while making compositional notes, experimenting with ideas for new compositions and doing bits of work here and there.

For example in January I worked in Lausanne, CH,  for one of the worlds leading ballet competitions and

I have previously released four albums on CD, two dance class and two of composition works, this February I released a fifth album for dance class ‘You scratch my back…I’ll scratch yours’.

I have also produced music for Patrik van den Boom, a clown from Norway and his short film :

and a second short film for Tom Strini from the states: 

Several other short pieces have been made for commercial projects however, they are also in process and neither have links nor further available information (not everybody wants to workshop their ideas and plans in a blog format and still ‘analogue man’ and his ‘release dates’ play a role in present society).

In May, I conducted a performance of my arrangement for string orchestra from a section of music previously made for a choreography by Nick Hobbs called ‘Ek Stasis’.

The subsequent blogs (there will be 11 more) are the final stages in my effort to procure the Foundation degree and in these digital missives I will be noting my present compositional work with Helen Wragg and her stage production of “The Odyssey” by Homer. Not given to sharing my feelings via the internet, I will do my best to keep you informed of my working process and the compositional elements and form with which I work.