This is part of an interview conducted by Dr. Maxine Thévenot which will appear in The American Organist

“Judith Bingham” is the buzzword of the moment in compositional circles. Winning British Composer awards in 2004 and 2006, winning the 2004 Barlow Prize for choral music, as well as being appointed Associate Composer to the BBC Singers in 2005, Ms. Bingham is constantly in demand writing new works for the BBC Proms, the BBC Philharmonic and Leeds Festival Chorus, to name but a few.  Continuing the trend across the Atlantic, Ms. Bingham has been asked to write an organ concerto for the 2008 AGO National Convention in Minneapolis.

When asked about her composition lessons with Hans Keller, Ms. Bingham says: “Firstly, the lesson all teachers try and drum into their students - less is more! He would often use Beethoven as an example, early Beethoven being full of ideas whereas the later Beethoven only needs a four note cell to create a whole piece. It’s so common when you’re young to throw away good ideas and not develop them. The second thing he said to me that I always remember is that you have to work towards spontaneity: he would cite the opening of Beethoven’s 5th Symphony, and how long it took Beethoven to arrive at that idea. (I also think that Shakespeare did not immediately think of ‘To be or not to be.’) It took me years to really understand what he meant, but it was a profound thing to say. To me it applies specially to the ending of pieces. The end of a piece is so important - if you get it wrong, you cancel out a lot of the good work in the rest of the piece, people take away a bad impression. I find that you need to allow yourself plenty of time to do the ending of a piece and not lose interest, and throw it away.”

So what has been the result? When questioned about her compositional style, Ms Bingham feels that she doesn’t fit into one particularly style.  Words like “atmospheric, emotionally intense, economical, formally logical and classically based, actorish”, are her way of describing the uniqueness of her style. Growing up in Sheffield has left its mark on her work. “I think my music was initially very influenced by the acting I did in my teens in Sheffield - I was in a youth theatre group at Sheffield Repertory Theatre, and I was completely stage struck. I visualise my pieces when I write them often as if they were dramas, or films. If I have an individuality, then I think it comes partly from the harmonic language, which I am very aware of, and partly because I put layers of meaning into a piece deliberately: an easy doorway in, which is the programme (I always write programme music), and then progressively more unsettling aspects. I like to spellbind audiences, and one way to do that is with beauty.”

The impact of being a professional singer has also influenced her compositional process, especially when writing choral music: “I would say that singing has really influenced the way I write both consciously and unconsciously. My music is melody-based. I never understand how minimalists can write music without melody. I wait for it to happen! I always had a facility for writing melodies, and they definitely come in breath lengths, whatever I’m writing for. Breath informs everything too - I admire musicians who can do circular breathing but when they do I miss the expressiveness of breath lengths - I think I anticipate what singers will do, and that becomes part of the expression. There is a drama to breathing. Being in the BBC Singers was a huge education in notation, and the psychology of performing. You can really influence the tuning of singing by the way you notate it.”

For 2008, Ms. Bingham has been commissioned to write an organ concerto, scored for organ and strings, for the AGO National Convention.  What preparation over the years, in terms of experiences in relation to the organ, have there been? “I don’t remember where I first heard the organ, but I was lucky to know David Roblou as a student, and he played the harpsichord and organ, and commissioned me to write for both. My student organ pieces are completely mad—covered in detailed registrations. I had not grasped the idea that all organs are different then! But I always loved the instrument. The visceral experience of hearing organ music in big buildings is just thrilling for me. I understand that it is really daunting to understand how to write for the instrument, but I feel that students are really missing out if they don’t. It’s so versatile, and a great instrument to have as part of the orchestra - it can be a filler or completely overwhelm the texture. As the orchestra tends to be top-heavy, it is also very useful for its low notes.”

Stephen Cleobury has been invited to perform this new concerto, which must have some impact for Ms. Bingham in her thought processes, but what other guidelines have been suggested? “Very few parameters: it will be about 15’ long, and is for organ and strings. I hope that this small-ish line-up will make it more practical for churches as well as the concert hall. I have been thinking about the performer, whom I know very well, and his character. I like to think of myself as a tailor when I know who I’m writing for. Tailors can of course, make or break an occasion!!” Any verbal clues as to how it will sound?! “I think it will be a very English piece, with an English programme. I think I’ve said too much already!”