What was the aim of this programme?

The 2017 soundfestival programme aimed as usual to bring new music to the North East of Scotland, giving existing and new audiences the opportunity to discover a variety of contemporary creation, and to involve the local community as much as possible.

2017 focused on a series of themed events: an exploration of whether there is such a thing as a northern sound; the bassoon as part of a 5-year focus on ‘endangered’ orchestral instruments; and new opera taken out of the opera house and presented in unique, unexpected and unusual spaces.  

How would you describe the programme?

Imaginative, new, inclusive and adventurous.

What was the most exciting thing to come out of this project?

An energization of our local bassoon community following an inspiring concert of new works given by 8 local bassoonist as well as the opportunity to listen to the incredible Pascal Gallois performing.

How long did it take to put this programme together?

From the initial idea to the realization of the festival takes around 2-3 years.

If you could work with any artist from history to create a dream programme, who would it be and why?

Not really from history, but right at the start of sound we thought it would be great to invite Bjork –she could play a village hall in Aberdeenshire and then have a pint with the audience and locals afterwards!

In an ideal world, what is the programme that you would most like to put together?

One in which we had three-year funding in place, allowing us to plan and commission properly, and not have to permanently skimp and save. It would include a large commissioned work (from someone like James MacMillan, Judith Weir, Kaija Saariaho..) for professional and amateur performers, including children, which took place in several locations at the same time in Aberdeen/shire, streamed to the rest of the world via the internet!