Artist of the Week
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Artist: Natasha Sofla
Artform: Music What is your name and where do you live? My name is Natasha Sofla, and I currently live in Bristol. What do you do and what are your main focuses? I’m a composer of both contemporary classical music, as well as media music (film/tv/video games). My background is classical, however I compose for electronic forces as well as instrumental/choral ones, and I enjoy combining forces and genres to create cross-platform pieces. I focus a lot on texture and timbre in my music, and like to explore different combinations of sounds and ways of creating sound to form new and interesting atmospheres. |
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Where have you studied?
I studied music at undergraduate level at the University of Birmingham, with a year abroad at the Université Paul Valéry in Montpellier, France. I then went on to study at the University of Bristol to obtain an MA in Composition of Music for Film and Television.
I studied music at undergraduate level at the University of Birmingham, with a year abroad at the Université Paul Valéry in Montpellier, France. I then went on to study at the University of Bristol to obtain an MA in Composition of Music for Film and Television.
https://soundcloud.com/natasha_sofla/waves-upon-waves-1?in=natasha_sofla/sets/instrumental
Please tell us about your example piece of work ...
My example piece of work, Waves Upon Waves, was composed in 2017 for violin, viola, cello, flute, cor anglais, french horn and percussion. It is based loosely on minimalist principles, which can be seen most clearly in the repeating figures that slowly evolve throughout the piece. The main focus, however, is on texture and timbre, with the instruments interacting in different combinations, and using extended techniques to create more unusual sounds (such as the vibraphone being played using a double bass bow). The alto flute and cor anglais also add to the richness of the soundworld, and the piece has a sense of unfolding from a central point in terms of pitch, gesture, and harmony. With this piece I aimed to treat the ensemble as an instrument in its own right, and use it to create an atmospheric, all-encompassing experience.
Please tell us about your example piece of work ...
My example piece of work, Waves Upon Waves, was composed in 2017 for violin, viola, cello, flute, cor anglais, french horn and percussion. It is based loosely on minimalist principles, which can be seen most clearly in the repeating figures that slowly evolve throughout the piece. The main focus, however, is on texture and timbre, with the instruments interacting in different combinations, and using extended techniques to create more unusual sounds (such as the vibraphone being played using a double bass bow). The alto flute and cor anglais also add to the richness of the soundworld, and the piece has a sense of unfolding from a central point in terms of pitch, gesture, and harmony. With this piece I aimed to treat the ensemble as an instrument in its own right, and use it to create an atmospheric, all-encompassing experience.
Why do you compose?
I have a very simple answer to this one – because I love it! I enjoy taking instruments or source sounds, figuring out what they’re capable of, and combining them to create something new. There are infinite possibilities when it comes to writing music and I think that’s fascinating – there’s so much to explore! Music is such an expressive art form, and I love that everyone connects with it in such different ways.
I have a very simple answer to this one – because I love it! I enjoy taking instruments or source sounds, figuring out what they’re capable of, and combining them to create something new. There are infinite possibilities when it comes to writing music and I think that’s fascinating – there’s so much to explore! Music is such an expressive art form, and I love that everyone connects with it in such different ways.
Who and what are you influenced by?
I have quite a wide variety of influences, to be honest. When I was in school I played in my local youth orchestra, so the kind of music that we played (mostly romantic-era classical) has been a long-standing love of mine, as well as an influence in my own music-making. I also draw a lot of influence from the American minimalist movement and its composers, such as Steve Reich and John Adams, and the film/tv soundtrack genre is another source of inspiration for me. Ramin Djawadi’s scores in particular have definitely influenced my writing for screen. I do have a soft spot for jazz as well, and the infusion of jazz with classical music, so some of that makes it’s way into my music as well.
I have quite a wide variety of influences, to be honest. When I was in school I played in my local youth orchestra, so the kind of music that we played (mostly romantic-era classical) has been a long-standing love of mine, as well as an influence in my own music-making. I also draw a lot of influence from the American minimalist movement and its composers, such as Steve Reich and John Adams, and the film/tv soundtrack genre is another source of inspiration for me. Ramin Djawadi’s scores in particular have definitely influenced my writing for screen. I do have a soft spot for jazz as well, and the infusion of jazz with classical music, so some of that makes it’s way into my music as well.
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What excites you about the art world today?
It might be an obvious answer, but I think that the potential of technology in the arts world is incredibly exciting. It allows for networking and collaboration between people all over the world, who would otherwise never have come into contact. Technology is being incorporated more and more into installations and performances, and the scope of what is possible seems to always be increasing. I think that’s fascinating, and can’t wait to see how the art world develops and integrates with technological advances. What are your future ambitions? In an ideal world, I would split my time between concert and film/tv composition. I love doing both, so if I could balance them and forge a career out of it I would be a happy composer! In addition, I currently run a classical music festival, Festival Fresco, which will host its second season this year. I’d love to develop this festival further, and increase our scope to reach out and engage with up-and-coming musicians. |
Talent or hard work?
Hard work, 100%. I believe that talent is a great starting point, and is often what sparks an interest in the field in question, however I think that it is the addition of hard work that allows an artist to build upon their innate talent, and develop their art. There is always more to learn, and I know that I wouldn’t be anywhere close to where I am today if I hadn’t worked hard to get here. 
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What’s the most exciting/ interesting thing you’ve done to date?
I was recently commissioned to write a Christmas carol for choir and orchestra by the City of Bristol Choir, with whom I also sing. This was performed in one of the principal classical music venues in Bristol, St George’s, and the orchestra was The Bristol Ensemble. Having my work performed to a full concert hall by a professional orchestra and fantastic choir was an amazing experience, and definitely the most exciting thing I’ve done so far! |
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What advice would you give to anyone wanting to become a composer?
Don’t be afraid to seek advice. The arts world can be difficult to navigate, so it can be hugely beneficial (and reassuring) to chat to someone who is already established in your field. You don’t have to know everything, but do be willing to learn, and try not to be afraid of trying new things. I also think that it’s important to have patience with the industry. Unless you have an incredible stroke of luck, the process of becoming a professional composer is long and slow. It can be very frustrating, but if you remind yourself of why you want to do it, and keep pushing forwards, you can and will get there.
Also taxes. You’re gonna need to know how they work!
Anything interesting coming up?
Yes, as a matter of fact! Aside from my collaboration with you guys, I have a feature film and a short film lined up for this year. I can’t say much about them yet, but watch this space (well, my socials) for updates!
Don’t be afraid to seek advice. The arts world can be difficult to navigate, so it can be hugely beneficial (and reassuring) to chat to someone who is already established in your field. You don’t have to know everything, but do be willing to learn, and try not to be afraid of trying new things. I also think that it’s important to have patience with the industry. Unless you have an incredible stroke of luck, the process of becoming a professional composer is long and slow. It can be very frustrating, but if you remind yourself of why you want to do it, and keep pushing forwards, you can and will get there.
Also taxes. You’re gonna need to know how they work!
Anything interesting coming up?
Yes, as a matter of fact! Aside from my collaboration with you guys, I have a feature film and a short film lined up for this year. I can’t say much about them yet, but watch this space (well, my socials) for updates!
What is your favourite instrument to write for?
I’m a clarinetist, so I’m obviously going to be a little biased in that direction. The clarinet has a larger range than most wind instruments (3 octaves excluding extended techniques), and has very distinctive timbres in each register. I love exploring the capabilities of the different clarinets (if you’ve ever heard a bass clarinet, or the opening glissando of Rhapsody in Blue, you’ll know how cool clarinets can sound), and as I am familiar with the instrument I am confident in composing for it, as well as pushing its boundaries. It definitely helps that I can get my own clarinet out and give something a go if I’m unsure how it’ll sound. I also love composing for cello and harp – both beautiful instruments that are incredibly versatile. Maybe I should write a harp/clarinet/cello trio next!
I’m a clarinetist, so I’m obviously going to be a little biased in that direction. The clarinet has a larger range than most wind instruments (3 octaves excluding extended techniques), and has very distinctive timbres in each register. I love exploring the capabilities of the different clarinets (if you’ve ever heard a bass clarinet, or the opening glissando of Rhapsody in Blue, you’ll know how cool clarinets can sound), and as I am familiar with the instrument I am confident in composing for it, as well as pushing its boundaries. It definitely helps that I can get my own clarinet out and give something a go if I’m unsure how it’ll sound. I also love composing for cello and harp – both beautiful instruments that are incredibly versatile. Maybe I should write a harp/clarinet/cello trio next!
