Guildhall questions: Tom Gimson answers

Saxophonist and composer Tom Gimson graduated from Guildhall in 2017, becoming a fellow of the School in 2017/18, and has since gone on to have an exciting career as a photographer and filmmaker as well as instrumentalist and composer.

The world premiere of Tom's new piece - Crack - is being performed by Guildhall's Ensemble in Residence Ensemble Bash at Milton Court on Monday 6 May. We caught up with Tom ahead of this concert to find out more about his music and inspiration.

Ensemble Bash gives the world premiere of your new work Crack at Milton Court on Monday 6 May. Could you tell us a bit about the piece?

Crack explores the sound of the orchestral whip (two planks of wood that slap against each other) and the suddenness of its impact. Sometimes the piece doesn’t allow the crack to settle before it is resounded, and the material explores the contrast of denser sounds and textures, opposing themselves against the abruptness of a stab.

It’s written for Ensemble Bash, and I definitely had them as performers in mind as I was writing it. They have really interesting and varied careers as players and, having seen them perform previously, I wanted to give them something characterful to play whilst still entertaining my own musical intentions.

How do you find writing for percussion compared to other instruments?

I’ve found myself writing lots for percussion recently which has felt quite natural. I have always envied percussionists and their approach to rhythm and groove as well as the fact that they engage with such a wide range of different instruments and styles.

Rhythm has been the primary focus of mine when writing a considerable amount of my music. I really enjoy using polyrhythms and a performer’s rhythmic independence to create an element of ambiguity, whilst aiming to keep the pulse blurred to the listener. Crack uses this idea in the sections where I explore the denser elements of the material.

What are your most enduring memories of life studying at Guildhall? Why did you make the choice to study here?

My saxophone teachers have really broad careers which is what attracted me initially and continued to inspire me through my undergraduate degree and fellowship. I didn’t want to limit myself to just being a saxophonist and I grew to realise that there were so many opportunities I could pursue whilst studying. I started working as a photographic assistant in my first year and explored writing properly when I had several months off from playing sax due to a throat operation about halfway through my undergrad degree. That was probably a blessing in disguise.

I never felt like Guildhall got in the way of me exploring things outside the saxophone. I loved some of the things I did with the instrument though; such as exploring alternative repertoire within the Ubu Ensemble, and performing to Steve Reich at a sold-out Milton Court concert as part of the BBC's Total Immersion series.

I now play in the Borealis Sax Quartet and having a strong proficiency with an instrument is a really valuable asset when it comes to composing.

As well as a composer, you’re a saxophonist, photographer and filmmaker. How do you find these different roles and passions complement each other?

It can certainly be awkward. They have been quite separate for the last few years, but in recent months I have been working on a few projects that combine the two. I have an upcoming commission to write a piece of music and shoot a short film for the Delta Sax Quartet. They are players that I always admired through my studies due to their background in things like the Steve Martland band, and the new repertoire they have championed for the saxophone, so it’s great to be able to develop something new with them.

I have a few personal projects that I am developing which combine the two spheres, and aiming to put a short film into production this summer which revolves around a piece of music I have been writing.

I am very envious of artists who are able to express themselves through a wide range of mediums, across different art forms, and be able to make a connection with others through it. Ragnar Kjartansson has been interesting me a lot lately.

What would you say has been your career highlight(s) to date?

I have had some amazing experiences playing in arenas with bands and fairly recently had an entertaining orchestral tour to Mumbai. But the greatest satisfaction has so far been having my own music played. It sounds really corny, but having come from a background as a performer where you’re interpreting and projecting someone else’s work; it’s really gratifying to make a connection with someone with an original idea that you have conceptualised yourself.

More recently, I have been collaborating with a theatre ensemble Trah and Chips who I met at Guildhall. Our piece Taffeta Dreaming went in at the 2019 Resolution Dance Festival which has been one of my more recent highlights.

Who have been some of your biggest inspirations?

People who are employing textures and elements from other genres to create something different. People that search for a new narrative within their work that also has an appeal to their audience, yet don’t feel like they have to fulfil some sort of expectancy from their listening. To me, artists such as Justin Vernon, Kendrick Lamar, Steve Reich, Nico Muhly, the Dessner twins, Colin Stetson, Nils Frahm and Flying Lotus are achieving that, which inspires me. I’m also a massive Aphex Twin and Sibelius fan boy, and on top of all that I had some really inspiring teachers during my studies.

If you had one piece of advice for young composers today, what would it be?

Consider the listener, but don’t dwell on the noise.

Ensemble Bash performs on Monday 6 May at 7.30pm in Milton Court Concert Hall. Tickets are available via Barbican Box Office. Book your tickets now.