A detailed account of forthcoming premieres and commissions for composer Marc Yeats [the PDF is also linked to Yeats' website].

1. This
PDF
biography
and
C.V.
is
hyperlinked
to
Marc’s
Website
Marc
Yeats
is
a
composer
and
visual
ar?st.
His
intense
music
has
been
performed
and
commissioned
around
the
world.
He
has
worked
with
many
dis?nguished
performers,
ensembles
and
musicians
including
Psappha,
the
London
SinfonieFa,
the
Endymion
Ensemble,
Paragon
Ensemble,
the
ScoHsh
Chamber
Orchestra,
the
BBC
Philharmonic
Orchestra,
Hallé
Orchestra,
Tokyo
City
Philharmonic
and
Gewandhaus
Radio
Orchestra,
among
others
with
many
broadcasts
on
BBC
Radio
3,
BBC
Radio
Scotland,
European
and
US
radio
sta?ons.
Marc
is
Composer-­‐in-­‐Associa4on
with:
Thumb
Ensemble
[Birmingham
UK]
Manchester
Pride
[Manchester
UK]
Chamber
Cartel
[Atlanta,
Georgia
US]
SATSYMPH
[Bristol/Crewkerne
UK]
Recent
large
music
commissions
include:
SATSYMPH’s
‘on
a
theme
of
Hermes’;
an
original
work
which
fuses
contemporary
classical
ensemble
music
and
contemporary
poetry
in
an
en?rely
new
and
innova?ve
way
having
a
truly
unique
method
of
delivery
via
smartphone
apps,
and
sturzstrom,
a
large
choral
work
commissioned
by
Coastal
Voices
as
part
of
an
umbrella
project
that
explored
the
Jurassic
Coast
with
newly
commissioned
composi?ons
linking
music
and
earth
sciences
through
the
voice.
Performances
included
the
premiere,
300
feet
underground
in
Beer
Quarry
Caves,
Devon;
Lighthouse
Poole
and
the
opening
ceremony
of
the
Olympic
sailing
events
in
Weymouth
and
Portland,
Dorset
in
July
2012.
Other
commissions
include
a
string
quartet
for
the
Corsham
Fes4val,
black
bile
for
Thumb
Ensemble
and
worship
of
the
oak
for
Manchester
Pride,
a
brass
quintet
for
Alba
Brass,
‘the
shape
distance’
for
Chamber
Cartel
[US]
and
many
other
commissions
to
be
announced.

2. about
LISTEN
|
Marc’s
music
INTERVIEWS
|
video
interviews
CATALOGUE
|
list
of
works
LINKS
|
links
+
partners
Latest
news
and
confirmed
premieres
2013:
• June.
Marc
is
Ar?st-­‐in-­‐Residence
at
the
Marburae
Art
Gallery,
Maccelsfied,
Cheshire
for
summer
2013
with
the
premiere
of
two
piano
works
in
the
Barnaby
Fes4val
performed
among
the
exhibi?on
of
his
pain?ngs.
• Marc
is
proud
to
announce
he
is
now
composer-­‐in-­‐associa?on
with
the
Atlanta
new
music
ensemble
Chamber
Cartel
–
more:
• Over
the
next
18
months
a
huge
collec?on
of
Marc’s
piano
music
is
being
recorded.
This
summer,
Marc
is
working
with
Belgian
pianist
Geert
Callaert
to
record
four
pieces
including
the
ferociously
difficult
Viciousness
of
Circles,
Oroborous
and
‘ENÛMA
ELIŠ’.
Comprising
an
hour
of
music,
this
ini?al
collec?on
of
pieces
will
be
the
first
professional
recording
of
Marc’s
piano
music.
Geert
will
be
recording
the
work
in
Academiezaal
Sint
Truiden;
a
beau?ful
concert
hall
in
Belgium.
Geert
and
Marc
are
also
making
a
documentary
video
of
their
work
together
in
August
this
year.
Live
performance
of
the
pieces
will
follow
at
venues
around
Europe.
• There
will
be
much
more
piano
music
recorded
in
2014
as
Marc
will
be
working
with
Pierre-­‐Arnaud
Dablemont,
a
wonderfully
talented
pianist
based
in
Brussels.
Pierre-­‐Arnaud
will
be
recording
Marc’s
epic
series
of
pieces
‘the
magical
control
of
rain’
[c.48
minutes]
for
release
late
in
2014.
‘the
magical
control
of
rain’
is
Marc’s
most
recent
solo
piano
composi?on.
Read
more
here
• June.
pathos
for
solo
cello,
with
Patrick
Tapio
Johnson,
Antara
Fes?val
London
• July
ōrāre
for
bass
trombone
and
piano
performed
by
Dirk
Amrein
and
Jürg
Henneberger,
Mahidol
University,
Bangkok,
Thailand
• August.
An
‘all
Yeats’
lunch?me
recital
with
‘crowded
rooms’
ensemble
including
Jenni
Hogan
(flute/piccolo)
and
Leo
Nicholson
(piano)
as
part
of
Marc’s
Manchester
Pride
composer-­‐in-­‐associa?on
role
at
The
Cosmo
Rodewald
Concert
Hall,
The
Mar?n
Harris
Centre,
Manchetser
University
as
part
of
Manchester
Pride
Classical
Concert
Series
including
playful
geometry
for
piccolo
and
piano,
a
the^
of
cold
moisture
for
solo
flute
and
ENÛMA
ELIŠ
for
solo
piano
• September.
As
part
of
Marc’s
composer-­‐in-­‐associa4on
rela4onship
with
the
US
new
music
ensemble,
Chamber
Cartel
will
premiere
the
en?re
‘the
shape
distance’
[1-­‐7]
series
in
Atlanta,
Georgia.
These
works
will
also
be
studio
recorded
for
Chamber
Cartel’s
first
CD
release

3. Premieres
in
2014
Marc
has
completed
a
duo
commission
for
pianist
Geert
Callaert
and
double
bassist,
Mar?n
Rossi.
and
cherries
all
black
to
be
premiered
in
Brussels
next
year
and
subsequently
taken
on
tour
around
Belgium.
We
Are
Wolfpack
have
commissioned
a
new
work
for
6
instrumentalists
called
the
dog
and
the
wolf
to
be
premiered
in
London
in
April
2014.
Meridian
Brass
will
premiere
their
new
commission
from
Marc
for
brass
quartet;
through
woods
in
riot
at
a
Nonclassical
event
in
London
[venue
tbc].
through
woods
in
riot
will
be
professionally
recorded
by
Meridian
Brass
in
the
weeks
following
the
premiere.
There
will
be
more
to
announce
from
this
rela?onship
in
2014.
Poste
Haste
Reed
Duo
will
premiere
invoco
for
soprano
saxophone
and
bassoon
in
the
US
in
the
summer
of
2014.
oros
is
Commissioned
by
Audi4v
Vokal
to
celbrate
“Einstürzende
Mauern”.
It
will
be
premiered
in
Dresden
on
26th
February
2014
with
a
further
performance
on
the
27th.
oros
is
for
8
voices:
SSS
AA
T
BB
[
3
sopranos,
2
altos,
tenor
and
2
basses]
Further
commissions
in
the
US
for
2014
and
beyond:
KOEK
duo
-­‐
a
new
substan?al
work
for
soprano
and
tenor
saxophone
to
be
premiered
in
2014
Clibber
Jones
Ensemble
-­‐
a
new
work
for
ensemble
for
the
spring
of
2014
with
an
Atlanta
premiere
And
a
new
commission
for
Chamber
Cartel’s
3rd.
season
to
be
included
in
an
all
Yeats’
concert
at
The
Goat
Farm,
Atlanta,
US
in
late
2014.
Under
the
auspices
of
their
new
ini4a4ve,
Crea4ve
Music
Composer
Con4nuum
(CMCC),
the
CHICAGO
MODERN
ORCHESTRA
PROJECT
has
asked
composer
Marc
Yeats
for
a
new
composi4on
for
their
2014-­‐15
season.
The
new
commission
will
see
Marc
con?nuing
his
composi?onal
research
around
unsynchronised
performance
and
composi?onal
techniques,
culmina?ng
in
a
substan?al
work
for
brass
ensemble,
percussion
and
strings
[with
op?onal
piano]
that
will
push
Marc's
unsynchronised
composi?ons
into
the
orchestral
sphere
for
the
first
?me.
The
work
will
be
directed
but
only
to
ini?ate
sounds
and
instrumental
groupings.
All
performers
will
play
'as
soloists',
following
their
own
fully
notated
parts
which
shall
contain
different
tempi,
bar
structures
and
material,
simultaneously
performed
[unsynchornised]
across
the
orchestra
without
a
unifying
beat
from
the
director.
Each
performer
will
play
'live
and
[to
a
certain
extent]
free'.
Due
to
the
composi?onal
nature
of
the
music,
each
performance
will
yield
slightly
different
results,
interplays,
gestural
and
harmonic
references
and
unique
outcomes
crea?ng
music
of
great
fluidity,
unpredictability,
beauty,
complexity,
wild
energy
and
connec?vity.
This
music
cannot
be
read
from
a
conven?onal
score;
it
renews
itself
with
each
performance
and
can
only
be
'revealed'
when
played
live.

4. What
others
have
said
about
Yeats’
work:
“Marc
Yeats’
musical
voice
is
quite
unlike
anything
else;
the
music
is
challenging
to
both
performers
and
audiences,
and
very
communica?ve.
He
produces
extraordinary
composi?ons
that
not
only
look
and
sound
good,
but
demonstrate
a
very
high
level
of
academic
learning,
while
being
breathtakingly
original.”
Sir
Peter
Maxwell
Davies
Click
HERE
to
listen
to
Sir
Peter
Maxwell
Davies
in
conversa8on
about
Marc
Yeats’
PAGAN
II
for
orchestra
before
he
conducted
the
work
with
the
BBC
Philharmonic.
“Yeats’
instrumental
roles
are
demanding,
pushing
every
player
to
extremes
of
agility.
The
intensi?es
of
expression
are
not
empty
extravagances,
however,
but
the
comment
of
an
expressionist
drama
that
exudes
the
passion
and
life-­‐
energy
of
their
creator.”
Piers
Helliwell
“Refreshingly
unfeFered
in
concept
–
it’s
something
of
a
tour
de
force”
Lynne
Walker,
The
Independent
on
The
Round
and
Square
Art
of
Memory
“He
uses
his
orchestra
resourcefully;
fresh
and
intriguing
colours,
but
he
uses
his
musical
?me
even
more
resourcefully,
never
allowing
the
ear
to
lose
track
of
the
changing
and
evolving
ideas.”
The
Scotsman
on
The
Round
and
Square
Art
of
Memory
“Yeats
has
a
strikingly
individual
feel
for
the
texture
of
an
orchestra,
yet
it’s
never
in
all-­‐purpose
avant-­‐garde
alienated
tones.
But
this
is
the
second
fabulous
piece
I’ve
heard
from
this
emerging
composer,
and
if
there’s
more
where
that
came
from
we
have
a
major
new
Bri?sh
talent
on
our
hands.”
David
Fanning,
The
Telegraph
on
The
Round
and
Square
Art
of
Memory
“That
Yeats
has
something
to
say
in
the
wild
shrieking
music
is
beyond
ques?on.
He
hurls
himself
at
the
sound
with
an
admirably
pure
and
savage
impressionism.”
The
Scotsman
on
The
Anatomy
of
Air
“…
he
unleashes
every
shade
on
the
paleFe,
and
con?nually
pushes
instruments,
textures
and
dynamics
to
extremes.
“The
Herald
on
The
Anatomy
of
Air”
“The
orchestral
work
‘I
See
Blue’,
is
startlingly
original
in
its
structure
and
orchestra?on,
using
brass
and
bass
drum
to
unexpected
and
powerful
effect,
with
dazzling
combina?ons
of
string
and
wind
colour.”
Sally
Beamish

5. “Marc
Yeats
is
one
of
the
most
exci?ng
composers
I
have
encountered
in
recent
years.
His
ability
to
use
maximum
with
all
?mbres
of
the
instrument,
whilst
never
sacrificing
the
very
heart
of
the
music,
gives
the
musician
many
challenges
which
are
exhilara?ng
to
discover.”
Kathryn
StoR
“The
sheer
noise
of
the
percussion
sec?on
through
which
Kathryn
StoF
somehow
managed
to
make
the
piano
audible
set
a
new
decibel
level
for
this
hall.
Yet
one
felt
an
original
crea?ve
mind
at
work,
not
just
a
bruiser
but
a
maverick
with
some
kind
of
purpose.”
Michael
Kennedy
on
The
Round
and
Square
Art
of
Memory
VOX
review:
Sarah
WaFs,
Park
Lane
Group
Young
Ar?st
Concerts,
Purcell
Room,
South
Bank
Centre,
London:
VOX
was
premiered
by
and
wriFen
for
Sarah
(WaFs),
with
the
inten?on
of
depic?ng
as
many
voices
as
the
instrument
is
capable
of.
In
Sarah’s
hands
the
instrument
spat,
grumbled,
screamed
and
sang
throughout.
Making
use
of
the
al?ssimo
range
of
the
instrument
at
every
turn,
this
has
to
be
one
of
the
most
demanding
yet
effec?ve
works
in
the
repertoire,
both
musically
and
technically.”
Sarah
James,
Clarinet
and
Saxophone
Magazine
Yeats
is
largely
self-­‐taught,
though
he
has
received
support
and
encouragement
from
Maxwell
Davies
a{er
aFending
his
composi?on
summer
school
on
Hoy
some
years
ago.
He
is
also
a
painter,
and
the
possibility
that
the
audio
and
visual
aspects
of
his
crea?ve
imagina?on
are
linked
in
some
way
should
not
be
ruled
out.
Yeats
is
an
experimental
composer
in
his
own
highly
individual
manner,
and
this
is
reflected
in
almost
all
his
recent
scores.
‘a
wai4ng
ghost
in
the
blue
sky’
was
the
most
‘advanced’
music
on
offer
at
this
year’s
Fes?val,
yet
the
confidence
with
which
Yeats
deployed
his
material
ensured
a
warm
recep?on.
John
Warnsby
–
Fes8val
Review:
St
Magnus
Fes8val
–
16
–
21
June
2000
Part
of
the
Coastal
Voices
Project
in
Dorset
and
east
Devon,
sturzstrom
has
no
famous
par?cipants.
It’s
a
vocal
work
I
stumbled
across
while
reading
the
blog
5against4.com
and
is
one
that
expresses
–
in
the
words
of
the
composer,
Marc
Yeats
–
“the
forma?on
and
geology
of
the
Jurassic
coast
concentra?ng
on
the
phenomina
of
landslips,
mudslides
and
coastal
erosion”.
I’m
sure
we
can
all
agree
it’s
been
a
while
since
we
heard
one
of
those.
The
piece
was
made
using
nothing
but
vocals
from
community
choirs
and
pebbles
for
percussion
but
it
was
no
simple
affair.
Geologists
were
offered
crea?ve
input,
while
–
not
wan?ng
to
limit
the
music
to
conven?onal
nota?on
–
Yeats
created
a
variety
of
signs
and
symbols
for
the
vocalists
to
learn
and
interpret
(looking
at
the
score
feels
more
like
a
maths
exam
than
a
piece
of
music).
It
certainly
sounds
different:
the
volley
of
shrieks
and
bellows
have
a
feral
quality
to
them
and
create
genuine
excitment.
At
the
same
?me,
crescendos
can
disappear
into
whispers
just
as
quickly.
Tim
Jonze
On
Shuffle
…
Experimental
music
|
The
Guardian
|
30th
June
2012
Marc
conduc*ng
‘sturzstrom’
in
the
icci360˚
Arena,
Olympic
Opening
Ceremony,
Weymouth
and
Portland,
July
2012

6. Awards,
Prizes,
Commissions
and
Bursaries
(selected)
1994
Hoy
Summer
School,
SCO,
Sir
Peter
Maxwell
Davies
–
a>endance
bursary
1994
ScoBsh
Arts
Council
Summer
School
and
Travel
Bursary.
1995
ScoBsh
Arts
Council
Composer
Bursary.
1995
ScoBsh
Arts
Council.
A>endance
fees
for
the
AssociaJon
of
BriJsh
Orchestras
Conference.
1996
ScoBsh
Arts
Council
Composer
Bursary.
1997
ScoBsh
Arts
Council
Composer
Bursary.
1997
Commission
–
St
Magnus
FesJval
–
25
minute
orchestral
piece
for
the
SCO
1997
Hope
Sco>
Trust
Composer
Bursary
(for
3
years).
1997
ScoBsh
Arts
Council
Commission
for
visual
art
‘Resound’
project.
1997
Prize
winner
–
Next
Millennium
InternaJonal
Composers
Award,
Japan.
1999
The
Arts
Trust
of
Scotland
–
travel
expenses
for
Italian
performance.
1999
Commission
–
BBC
–
32
minute
orchestral
work
for
the
BBC
Philharmonic
and
Kathryn
Sto>
1999
Commission
–
The
London
Sinfonie>a
–
ensemble
piece
2001
Commission
–
Kathryn
Sto>
–
solo
work
for
saxophone
2001
Five
Islands
Project
–
Colour
Songs:
The
NaJonal
Lo>ery
Access
and
ParJcipaJon
Scheme.
2001
Commission
–
Sarah
Wa>s
–
solo
work
2002
Commission
–
Hebridean
Music
Workshops
SAC
lo>ery
funds
–
40
minute
ensemble
work
2002
Commission
–
Hebridean
Music
Workshops
–
SAC
lo>ery
funds
–
5
watercolour
painJngs
2002
Commission
–
ensemble
piece
–
175
East,
New
Zealand
2003
Commission
–
Lonba,
ArgenJna
–
ensemble
piece
2004
Commission
–
An
Tuireann
–
SJllness
in
movement
–
60”
ensemble
piece
2004
HI~Arts
–
ArJst’s
creaJve
bursary
2005
Commission
–
Henri
Bok
–
solo
work
2005
Commission
–
Ro>erdam
Conservatorium
–
orchestral
work
2005
First
prize
–
internaJonal
composing
compeJJon,
WBCC,
Ro>erdam,
Holland
2006
GO
EVENTS
–
grant
towards
development
of
website
music
download
faciliJes
2006
Hope
Sco>
Trust
–
Funding
towards
the
producJon
costs
of
the
new
CD
opera
–
Haar
2007
Commission
–
ScoBsh
Clarinet
Quartet
–
work
for
4
bass
clarinets
and
percussion
2007
Commission
–
Symposia
–
work
for
4
instrumentalists
and
digital
sound-­‐track
2007
Commission
–
SCAW
–
new
work
for
bass
clarinet,
piano
and
electronic
sound-­‐track
2007
Commission
–
Trio
IAMA
–
new
work
for
flute,
cello
and
piano
2007
ScoBsh
Arts
Council
–
Professional
Development
Grant
–
developing
new
dance
music.
2007
–
2009.
An
extensive
list
of
commissions
specifically
referenced
in
Yeats’
music
biography.
2008
Hallé
Orchestra
with
My
Blood
is
as
Red
as
Yours
for
World
Aids
Day
2009
Arts
Council
England
–
Grants
for
the
Arts
–
collaboraJve
locomoJve
GPS
music/word
fusion.
2009
Kokoro
–
commission,
‘shadow
and
the
moon’
for
sextet.
2009
BBC
commission.
rhema
for
harpsichord
circa
10mins.
In
total.
2010
Announced
as
Composer-­‐in-­‐AssociaJon
with
Manchester
Pride
2010
1
of
5
shortlisted
composers
with
PRSF
NMA
(Turner
Prize
for
music)
with
SATSYMPH
2011
Commissioned
work
for
ConsorJum5
recorder
quintet
for
2011
–
‘the
bone
eaJng
snot
flower’
2011
New
work
‘crowded
rooms’
for
14
instrumentalists
for
Leeds
University
in
March
2011
2011
New
commissioned
work
for
silent
film
with
Ensemble
Amorpha
(amorpha_shorts)
for
2011
2011
Commissioned
work
‘Eris’
for
flute
and
viola
Manchester
Pride
Music
FesJval
2011
2011
Commissioned
work
for
massed
choirs
‘sturzstrom’
for
2012
Cultural
Olympiad
(Coastal
Voices)
2011
Commissioned
work
SATSYMPH
–
on
a
theme
of
Hermés
2012
Worship
of
the
oak
[trio
for
violin,
cello
and
piano]
-­‐Manchester
Pride
FesJval
commission
2012
ethos
[solo
trombone]
Dirk
Amrein
2012
the
need
fire
[string
quartet]
Corsham
FesJval
commission
2012
sunergia
[piano
four
hands]
commissioned
by
Music
Orba
Duo
2012
black
bile
[ensemble]
commissioned
by
Thumb
Ensemble
2012
quarter
sounds
[solo
bass
clarinet]
commissioned
by
Sarah
Wa>s
2012
pathos
[solo
cello]
commissioned
by
Antara
FesJval
2013
hyran
[solo
viola]
commissioned
by
Stephen
Upshaw
2013
the
shape
distance
series,
set
[1-­‐7]
commissioned
by
Chamber
Cartel
2013
black
root
[solo
E
flat
clarinet]
Markus
Wenninger
2013
corpuscular
theory
of
light
[clarinet,
soprano
saxophone,
xylophone]
2013
oros
[8
voices
SSSAATBB]
AudiJv
Vokal
2013
the
dog
and
the
wolf
[picc.,
clar.,
tpt.,
Bsn.,
Db.,
Celesta,
bass
drum]
We
are
wolfpack
2013
invoco
[soprano
saxophone
and
bassoon]
Poste
Haste
Reed
Duo
2013
through
woods
in
riot
[brass
quartet]
Meridian
Brass

7. Membership
and
Affilia4ons
1993
–
1996
Member
of
the
Skye
and
Lochalsh
Arts
Council.
1995
–
Member
of
the
Performing
Right
Society.
1995
–
Member
of
Mechanical
Copyright
ProtecJon
Society.
1996
–
Nominated
to
full
membership
of
the
Composers’
Guild
of
Great
Britain.
1996
–
2005
Board
member
for
An
Tuireann
Arts
Centre.
1997
–
ArJsJc
Director
for
Skye
and
Lochalsh
New
Music
FesJval.
1998
–
2000
Vice
Chairman
for
An
Tuireann
Arts
Centre.
1998
–
2003
Member
of
the
BriJsh
Academy
of
Composers
and
Songwriters.
2000
–
2005
Chairman
of
the
Board
of
Directors,
An
Tuireann
Arts
Centre.
2006
–
2007
Board
member
–
HI~Arts
2007
–
Advisor
to
the
Board
of
An
Tuireann
Arts
Centre
2009
–
Board
member
of
PVA
MediaLab,
Bridport,
Dorset
2009
–
2012
Chair
of
PVA
MediaLab,
Bridport,
Dorset
2011
–
Chair
of
Reach
Dorset
–
therapuJc
arts
acJviJes
for
people
with
mental
health
issues.
2012
-­‐
Chair
DIVAcontemporary
[arJst-­‐led
organisaJon
commi>ed
to
creaJvity/experimentaJon
in
the
arts
the
shape
distance
[6]
24x28
inches
oil
on
mounted
board.
You
can
email
Marc
through
the
CONTACT
page
To
view
Marc’s
pain?ngs
and
drawings,
please
visit
the
GALLERY
For
informa?on
about
forthcoming
premieres,
performances,
events
and
news,
please
visit
CONCERTS