Ensemble in focus – Platform 4

This is the second in a series of blogs where I introduce OCA composers (or, indeed, anybody else who might be interested) to UK-based ensembles, particularly those that are new, exciting, and focus on performing recently composed music.
Platform 4 are a Sheffield-based collective, comprised of composers Chris Noble, Tom James, Jenny Jackson, and Tom Owen.
Although they describe themselves as composers, many of them are also excellent performers, echoing my previous blog. Often, the musicians of Platform 4 will perform each others’ work, for example Jackson’s Moot; for Orchestra and Piano, six hands was premiered by Noble, James, and Owen (simultaneously on the same piano!) accompanied by the Endcliffe Orchestra (who are a Sheffield-based amateur group).
What I find so inspirational about the collective is how connected they are to Sheffield, and the extent to which they collaboration with the city’s various professional and amateur music communities. Platform 4 concerts feature not only the collective themselves, but their friends and other local musicians. Jackson runs ‘Compose Yourself!’ workshops, aimed at inspiring inexperienced composers to write for flute, and the group maintains a strong relationship with the university. There is an admirable, DIY attitude to Platform 4’s approach to music-making.

Nawleans Processional by Noble, featuring James on recorder, Noble on keyboard, and Owen conducting (in addition to other Sheffield-based musicians)
Platform 4 engage in other projects, too, collaborating with dancers, sculptors, and high-profile professional soloists/ensembles. Recently, the collective worked with Ensemble 360 as part of the Music in the Round May Festival: Russia in the Round. Ensemble 360 performed new work by Platform 4, inspired by famous Russian repertoire. Of these four works, James’ piece Barn Dance was recorded and broadcast on BBC Radio 3 (an excerpt can be heard here).
In essence, Platform 4 are both composers and performers, both professional and amateur, both inward-facing and outward-looking, equally adept at writing for themselves, collaborating with local musicians, or working with high-profile names.
Hearing one’s music is a very important part of learning how to compose. It can be difficult for fledgling composers to secure performances, but it is worth exploring whether there are any local ensembles willing to look at your music. Alternatively, why not form your own ensemble? Many of the ensembles I feature in these blogs were formed when like-minded friends got together and decided they wanted to play some new music. Who knows? The ensemble you form now might be performing on BBC Radio 3 in the not-too-distant future!