Sally Beamish was born in London. Initially a viola player, she moved from London to Scotland in 1990 to develop her career as a composer. Her music embraces many influences: particularly jazz and Scottish traditional music. The concerto form is a continuing inspiration, and she has written for many internationally renowned soloists.
Sally Beamish was born in London. Initially a viola player, she moved from London to Scotland in 1990 to develop her career as a composer. Her music embraces many influences: particularly jazz and Scottish traditional music. The concerto form is a continuing inspiration, and she has written for many internationally renowned soloists, including Håkan Hardenberger, John Harle, Branford Marsalis, Tabea Zimmermann, James Crabb, Dame Evelyn Glennie and Colin Currie.
She perfoms regularly as violist, pianist and narrator, and has presented programmes on TV and radio.
Her music is performed and broadcast internationally, and since 1999 she has been championed by the BIS label, who have recorded much of her work.
Her string quartet for the Elias Quartet, Reed Stanzas, received its premiere at the 2011 BBC Proms, and won a Royal Philharmonic Society Award.
The concerto for Scottish harp and fiddle, Seavaigers, has enjoyed considerable success, and a CD is now available, performed by its dedicatees, Catriona McKay and Chris Stout, and the Scottish Ensemble.
In February 2012 Beamish was BBC Radio 3 Composer of the Week; and this was repeated in 2015.
Branford Marsalis, James Crabb and Håkan Hardenberger are the soloists on her latest CD on the BIS label (release August 2015), featuring the RSNO and NYOS conducted by Martyn Brabbins.
Flodden, written for the Scottish Chamber Orchestra to commemorate the 500th anniversary of the battle, was premiered in September 2013 with soprano Shuna Scott Sendall, and was shortlisted for both a Royal Philharmonic Society and a British Composer Award.
The Trio Apaches have released Beamish’s Seafarer Trio, narrated by Sir Willard White, on Orchid Classics, alongside her new arrangement of Debussy’s La Mer, for piano trio.
Spinal Chords, one of the PRS 20×12 Olympic commissions, with text by The Times Journalist Melanie Reid, toured the UK in 2014 with the Orchestra of the Age of Enlightenment and narrator Juliet Stevenson. The composer has also appeared several times as narrator.
Equal Voices, for the London Symphony Orchestra and Royal Scottish National Orchestra, with their choruses, with text by Sir Andrew Motion, was premiered at the Barbican and then in Scotland to commemorate the centenary of the start of the First World War. The conductors were Gianandrea Noseda and Rory Macdonald, with soloists Shuna Scott Sendall and Marcus Farnsworth.
Her full-length ballet of the Tempest for Birmingham Royal Ballet and Houston Ballet, with choreographer David Bintley, was premiered in October 2016 at Birmingham Hippodrome and Sadler’s Wells, London, with the US premiere in May 2017. Also for the Shakespeare centenary, A Shakespeare Masque was premiered at Stratford by Ex Cathedra, with text by poet laureate Carol Ann Duffy.
Her piano concerto for Ronald Brautigam, Hill Stanzas, received its premiere with the Amsterdam Sinfonietta early in 2016. The second concerto, Cauldron of the Speckled Seas’, for Martin Roscoe, was premiered by the BBC Scottish Symphony Orchestra, under Thomas Dausgaard, in December; and the third, City Stanzas, for Jonathan Biss, was premiered in January 2017 with the St Paul Chamber Orchestra under Mischa Santora.
West Wind (text by P.B. Shelley), for tenor James Gilchrist and pianist Anna Tilbrook, was premiered at the Wigmore Hall in June 2016.
As part of her 60th birthday celebrations, her music was featured at the Aldeburgh, Cheltenham and St Magnus Festivals, and also at Musikdorf Ernen in Switzerland.
In 2017 she is resident composer at the Ryedale and Trondheim festivals.
Merula Perpetua, for violist Lise Berthaud and pianist David Saudubray, was premiered in a BBC Chamber Prom in August 2016. The work was written in memory of her friend and mentor, Sir Peter Maxwell Davies.
Forthcoming commissions include A Judas Passion, with librettist David Harsent, for the Orchestra of the Age of Enlightenment conducted by Nicolas McGegan. She is currently working on a second ballet, The Little Mermaid, this time for Northern Ballet with choreographer David Nixon.
Sally Beamish is the recipient of an honorary doctorate from the University of Glasgow, a Creative Scotland Award, and a Paul Hamlyn Award.
She was recently made a Fellow of the Royal Society of Edinburgh.
With composer Alasdair Nicolson, Sally Beamish co-directs the annual St. Magnus Composers’ Course in Orkney.
Her music is published by Edition Peters and by Norsk Musikforlag.
Three Choirs Festival, Worcester
THE GREAT AND WIDE SEA
LYNNE PLOWMAN ‘The Rime of the Ancient Mariner’:
SALLY BEAMISH ‘Sea Psalm: the sinking of HMS Duchess 12th Dec 1939’
A short memorial follows which includes ALEXANDER CAMPKIN ‘by still waters’
Can the ultimate betrayal ever be forgiven, asks the Orchestra of the Age of Enlightenment in this provocative new chronicle of Jesus’ final days, told through the eyes of his betrayer, Judas Escariot.
Written for the OAE’s period instruments by Sally Beamish, The Judas Passion echoes Bach’s great Passions in its exploration of the Last Supper and the Easter story.
But with a sizzling text by poet and screenwriter David Harsent, it asks us to reconsider Judas and his decision to betray Jesus for 30 pieces of silver, and poses some challenging questions. Was what he did necessary? Could he have done any differently? And can he be forgiven?
This exciting new Passion is accompanied by All Words of Forgiveness, a literary project exploring the role of forgiveness in contemporary society.
A co-commission with Philharmonia Baroque (San Francisco).
Orchestra of the Age of Enlightenment
Nicholas McGegan conductor
Julia Doyle soprano, Mary
Brenden Gunnell tenor, Judas
Roderick Williams Christ, baritone
Choir of the Age of Enlightenment
Sally Beamish: The Judas Passion (World premiere)
Stravinsky Concerto in E Flat Major Dumbarton Oaks
Beethoven Symphony No7
Something old, something new, something borrowed…Stravinsky’s zesty homage to the 18th century gets this year’s series of lunchtime musical feasts off to a mouth-watering start. And when the young New Zealand-born conductor Gemma New unleashes Beethoven’s volcanic Seventh Symphony in the intimate surroundings of the New Auditorium – well, let’s just say that it should certainly recharge your batteries! First, though, something from Scotland. Sally Beamish’s Frankenstein-inspired Whitescape tells a tale of ice, fog and mystery…
Linos Piano Trio
C. P. E. Bach – Trio in E minor, Wq. 89/5
L. van Beethoven – Trio in D Major, op. 70/1 “Ghost”
C. Debussy – La Mer (arr. Sally Beamish)