Radio 3’s Composers’ Rooms

For the last Composers’ Rooms in the series, Sara Mohr-Pietsch visits sound recordist Chris Watson in his workspace, not an indoors studio but the acoustically rich environment of the Kielder Forest in Northumberland. As they walk through different sonic spaces Chris tells Sara about the art of listening, demonstrates his techniques for capturing birdsong, and talks about sharing his solitary experience with a wider audience.

Sara Mohr-Pietsch visits Hector Parra at IRCAM, the musical research centre in Paris established by Pierre Boulez, where he is composer in residence and teaches. In one of the famous underground studios, Hector tells Sara why the environment is perfect for creating electro-acoustic sounds.

In the first of two visits to composers based in Paris, Sara Mohr-Pietsch is in the home of Betsy Jolas. Jolas tells Sara what inspired her to buy the house where she lives and works, what drives her to write music, and why she composes only in the mornings.

Sara Mohr-Pietsch visits Trinity Laban Conservatoire of Music and Dance at the Old Royal Naval College in Greenwich, where the composer Errollyn Wallen chooses to do much of her writing. Errollyn tells Sara how she loves working in the non-descript teaching rooms and imagines the ghosts of the building's naval history.

Sara Mohr-Pietsch visits the Dutch composer Louis Andriessen in the Amsterdam townhouse he's worked in for over 40 years. In rooms which overlook one of the city's canals, Andriessen tells Sara about the inspiration of the Dutch paintings on his walls, and about the demands of his daily routine.

Sara Mohr-Pietsch visits the North London workspace of Jennifer Walshe. Jennifer explains how she divides her composing time between her flat in London and a house in Ireland, and how her work explores the everyday sounds and sights of her immediate environment.

On the last of her visits to composers based in Berlin, Sara Mohr-Pietsch visits the home workspace of young German composer Tom Rojo Poller. In his quiet, clean room, Tom tells Sara about the conditions he needs for working, and why he surrounds himself with references to composers from the past.

Sara Mohr-Pietsch talks to Rebecca Saunders in the apartment she shares with her family in the Prenzlauer Berg district of Berlin. Rebecca tells Sara about experimenting with the instruments and objects in her workspace, explains the significance of the colour white, and how the live acoustics of the room influences her work.

Sara Mohr-Pietsch visits the apartment of visual artist and composer Chris Newman, in the Kreuzberg district of Berlin. Chris takes Sara on a tour of his home where he works and lives, and talks about the inseparability of his painting, his music and his daily life.

In the first of four visits to composers living and working in Berlin, Sara Mohr-Pietsch is in the apartment of Charlotte Bray, a young British composer who moved to the city a few years ago. Charlotte tells Sara how living in Berlin has influenced her work, and the effect of particular spaces on her music.