WORKED Many locations in Scotland, England, Wales, Northern Ireland, Europe, Scandinavia, Japan, Mexico, Singapore and the USA
HONOURS Three Weeks Editors’ Award 2016 “celebrating the ten people, productions and shows that, in our opinion, made this year’s Edinburgh Festival particularly special…. we celebrated Electric Voice Theatre for their truly inspirational show ‘Superwomen Of Science’…” Frances M Lynch is supported by PRS Foundation’s The Open Fund
I have always been fascinated, if somewhat daunted, by science. It seemed to be a land that I could never understand let alone visit. However, once I started the Minerva Scientifica project in 2013, I gradually found myself surrounded by scientists engaged in a dizzying array of research areas who have the patience and understanding to help me, and other composers, enter at the edges of their worlds.
Title: Dark Matters Scientist: ANNE-MARIE WEIJMANS Words by:MARY SOMERVILLE Written: February 2019 For: Solo Mezzo Soprano, Flute, Clarinet, Bassoon, Trumpet, French Horn, Tuba, Violins and Cellos. Performed by: Margaret Cameron with sampled orchestral instruments First Performed: February 18th 2019 at the Old Kirk, Kirkcaldy Margaret Cameron and players from Kirkcaldy Orchestral Society conducted by Graeme Wilson
“Dark Matters” was written and performed as part of a Minerva Scientifica project – “Echoes fae Fife”. It was created in response to the work of astronomer Dr. Anne-Marie Weijmans from the University of St Andrews. She is also an accomplished oboe player, and runs the SHINE project combining arts and sciences. Weijmans work on galaxy formation includes the intriguing question – Does Dark Matter Exist? She is working on the theory that it does, and we can tell that from the effect it has on stars and their movement.
The music is built from the name of the galaxy Dr. Weijmans first researched – NGC 2974 – which provides all of the notes for the instruments in the first section. (N = B then we have G & C and then the numbers refer to notes from the major scale of C)
The Second Section – FIGURE 17 – refers to a graph from one of her first papers which shows the dark matter curve in relation to the movement of stars and gases. You will hear the short sharp brass interruptions which show where the observations on the curves were made – looking for where stars should be! All the notes in this section are created from the names of the 2 featured astronomers (Weijmans and Somerville) – using the letters as a code for notes in a specific – though unconventional – musical scale. Dark Matter is at work here – forcing the notes into time and pitch places they shouldn’t have gone!
Dr Weijmans is an enthusiast for the work of Scotland’s own figurehead astronomer from Burntisland, Mary Somerville, whose words I quote in the piece to show how the two women connect over time (and space!) Mary Somerville (1780 – 1872) ” …..above the surface of the earth, the noise of the tempest ceases and the thunder is heard no more in those boundless regions,where the heavenly bodies accomplish their periods in eternal and sublime silence” (Mechanism of the Heavens)
“……for aught we know, myriads of bodies may be wandering in space unseen by us, of whose nature we can form no idea, and still less of the part they perform in the economy of the universe.” (On the Connexion of the Physical Sciences)
The composer acknowledges support by the National Lottery through Creative Scotland and the Institute of Physics Scotland towards the writing and first performance of this score. The composition was also supported by Hope Scott Trust. The performance was also supported by the Ambache Charitable Trust.
Title: Tystie and the Primrose Scientist: ELIZABETH MASDEN and ELAINE BULLARD Words by: Frances M Lynch Written: Sept 2018 – Jan 2020 For: Solo Voice, speakers and flute Performed by: Frances M Lynch (voice) with a pre-recorded track of the voices of Music Students from WICK HIGH SCHOOL and flute samples First Previewed: Lyth Arts Centre, October 6th 2018
The music combines the work of two scientists whose work may at first glance seem unrelated. In the New Scientist in 1998 a study by Elaine Bullard was sited in an article which began: The Scottish Birds Eye Primrose is confined to the extreme north coast of Caithness, Sutherland and Orkney; it is found nowhere else in the world. It risks extinction at many of its few remaining sites…… Her work on plants which extended through her long life is still valuable as an indicator of changes in land use and climate.
Today, at the Environmental Research Institute at North Highland College in Thurso, scientists study these changes in much the same way – searching and counting – only with more technology at their disposal! Concerned about a development of underwater turbines, DR ELIZABETH MASDEN is part of a team studying the characterful, but neglected Black Guillemot – know in Caithness as the Tystie.
The composer acknowledges support by the National Lottery through Creative Scotland towards the writing and first performance of this score. The composition was also supported by Hope Scott Trust. The performance was also supported by the Ambache Charitable Trust.
Title: Agnes Borthwick – Our Garden City Scientist: AGNES BORTHWICK Words by: Frances M Lynch Written: Feb 2019 For: Solo Mezzo and Speaker Performed by: BBC singer Margaret Cameron (mezzo) and Catherine Booth (speaker) First Performed: Beacon Arts Centre, Greenock, Scotland March 8th 2019 as part of “ECHOES FROM INVERCLYDE” by ELECTRIC VOICE THEATRE
In this solo voice piece, AGNES BORTHWICK reflects on her time as works manager at the vast munitions factory at Georgetown in Renfrewshire during the First World War where she was in charge of more than 7,000 workers who were mainly women. After the war, the site was flattened, despite Georgetown workers campaigned vociferously for it to be retained as a permanent garden city. There were to have been factories and housing for workers in healthy surroundings, indeed it was a very progressive idea, ignored by the male post-war planners. Churchill, who visited the factory, was once heard to say; “A vast new army of hundreds of thousands of women workers shared with our soldiers some of the risks and burdens of the struggle, afterwards they will share some of the glory and honour of the coming victory”
Our Garden City was written in collaboration with Catherine Booth – Science Curator, National Library of Scotland (retired) and Nina Baker, Women’s Engineering Society. The verses were originally performed interspersed with other pieces, some written by ALL SAINTS PRIMARY SCHOOL, to create a whole scene telling the story of Agnes and the Georgetown Munitions Factory.
The text can be viewed on the Soundcloud link above.
Title: Forgetting to Remember – Adeline Campbell Scientist: ADELINE CAMPBELL Words by: Christina Rossetti, Frances M Lynch, George V, King of England, Women Engineers from WW1 Written: Feb 2019 For: A cappella female voices Performed by: Frances M Lynch First Performed: by BBC singer Margaret Cameron with pre-recorded chorus, Kirkcaldy Old Kirk, Feb 22nd, 2019 as part of a Minerva Scientifica project – “ECHOES FAE FIFE” by ELECTRIC VOICE THEATRE
The music begins with a 4 part prelude from Rossetti’s poem “Remember” and the relentless ostinato that follows is overlaid with the story of Adeline Campbell – written in collaboration with Science Historian Catherine Booth and with the help of Rosemary Potter at the Old Kirk. Adeline Campbell was 1 of 8 children born to the minister and his wife at the Old Kirk in the late 19th century. 5 of the girls became doctors and attended University in St Andrews. Adeline went to Serbia with the Scottish Women’s Hospital, but eventually set up a hospital in Belgrade to combat a typhus outbreak. She is still honoured there. The remainder of the piece sets words by women working in engineering during world war one who faced terrible injuries and often death in the course of their work, the kind of injuries Adeline would have treated on the frontline.
“When the history of our country’s share in the war is written, no chapter will be more remarkable than that relating to the range and extent of women’s participation….” George V, King of England
“I am using my life’s energy to destroy human souls, I’m doing what I can to bring this to an end. But once the War is over, never will I do the same again.” Annonymous in a munitions factory magazine
Title: Salt Tears
Scientist: MAUREEN YOUNG Words by: Frances M Lynch, The Engine Shed Scientist’s data, Alexander Lindsay, John Willcock, Archibald 9th Earl of Argyll, Lady Anna Mackenzie Additional Music: “Bonnie Isle O’ Whalsay” traditional tune for Lady Sophia Lindsay Scottish country dance created by Jean Attwood Alexander Written in: 2018 For: Solo Mezzo, Baritone and mixed voices Performed by: Margaret Cameron, Gwion Thomas and Frances M Lynch First Performance: The Engine Shed, Stirling, September 18th 2018
The music is created from a number of different sources, but primarily from Data provided by Dr Maureen Young relating to the work she is involved with at Argyle Tower in Edinburgh Castle. The data is part of the work that Historic Environment Scotland carries out to conserve and restore their buildings, and involves Thermal Imaging, Moisture Analysis and Salt Analysis. The story is that of Lady Sophia Lindsay who was the step-daughter of the 9th Earl of Argyll after whom Argyle Tower is named. He is said to have been held beneath where this tower now stands during his various imprisonments at Edinburgh Castle.
Part 1. Stone Argyll’s Lodgings is very close to Stirling Castle where the Earl lived with his second wife, Lady Anna Mackenzie and her daughters – one of whom was Sophia. The permanence of the stone, its vulnerability and its strengths are paralleled in the story.
Part 2. Water For the stone the introduction of water is dangerous and it also represents the dangers experienced by our protagonists whose lives are disrupted by the intrusion of political strife which will have drastic outcomes for all of them. Sophia’s courage in bringing a servant to Argyle Tower who swapped places with Argyll, allowing him to go free, almost led to her public flogging, commuted to imprisonment.
Part 3. Salt She suffered a great deal for Argyll and eventually, at a late stage in life, married his son Charles, but they had no offspring, “a bitter salt ending”. The salt, which can crack stone, is also a metaphor for Argyll’s final downfall and execution at the castle.
The composer acknowledges support from Creative Scotland, Historic Environment Scotland and the Scotland Foundation (Scotrail) towards the writing and first performance of this score. The composition was also supported by Hope Scott Trust. Frances M Lynch is supported by PRS Foundation’s The Open Fund for Music Creators. The performance was also supported by the Ambache Charitable Trust.
Title: Living Breathing Soil Scientist: AUDREY LITTERICK Written in: September 2018 For: acapella voices Performed by: Frances M Lynch and Margaret Cameron First Performed: THE BIG SHED September 22nd 2018 with Audrey Litterick on violin
The music is a series of riffs based on the important biological elements in soil – micro, meso and macro organisms and fauna, not forgetting the pathogens and pests! The piece has 4 main sections: 1. Micro, Meso, Macro 2. Living, Breathing Soil – bacteria, fungi, protozoa, nematodes, mites, springtails, moles, ants, centipede, millipede, spiders, beetles, earth worms 3. Micro, Meso, Macro – What they do for the soil 4. Finale – the full soil picture
Title: Agnes Metcalfe – To My Fellow Country Women Scientist: AGNES METCALFE Additional Music: The March of the Women by Ethel Smyth Written in: June 2019 For: Speakers, solo voice and choir Performed by: Dr Patricia Fara, (introduction speaker), Frances M Lynch (all other voices and dogs!) First Performed: Stroud Green Festival, June 13th 2019
This is the whole story of Agnes Metcalfe. I begin with the dedication she wrote on the front of her first book on Suffrage: –
This first section moves into an arrangement of The March of the Women by Ethel Smythwhose connections to Agnes are explored through the song. The final section is based on her book for children about a dog named Kim – “Memoirs of a Mongrel” by Himself, and the supposition that this dog may well have been at the centre of her protest in court. She refused to pay her dog licence – NO TAXATION WITHOUT REPRESENTATION – and so eloquently defended herself that the judge let her off with a modest fine (others received jail sentences)
The music is created from Data provided by ecologist Sarah Watts relating to the work she is helping to carry out for The National Trust for Scotland onBen Lawers, monitoring the growth of Tall Herbs in specially created plots which prevent the sheep and deer from grazing. The plots are arranged in Transects, or Ladders, and there are 9 of them in the area of Creag an Lochain. The data presents a comparison from two surveys of the site: – one in 1999 by Anna Griffith and the other in 2017 by Sarah Watts and Lindsay Mackinlay. You can hear the data from 1999 on the left of the stereo picture and the 2017 data on the right.
Of the many species planted the piece focuses on only 5, as they correspond with 5 mentioned and illustrated by Elizabeth Blackwell published in 1737 in “A Curious Herbal”:-
Title: Beatrix Potter and the Postman Scientist: BEATRIX POTTER Words by: Frances M Lynch in collaboration with Catherine Booth Written in: 2018 For: Mixed childrens voices and soloist Performed by: KILLIN, KENMORE and STROUD GREEN PRIMARYschools with Dr Patricia Fara (speaker) and Frances M Lynch and Margaret Cameron (singers) World Premiere: THE BIG SHED, Kenmore, Scotland,22nd September 2018 Recorded: live at performances in the Big Shed, Killin Primary School, Kenmore Primary School in Scotland and the Stroud Green Festival in London.
“Beatrix Potter and the Postman” was written for the “Echoes from Ben Lawers” project as a fun way to teach the children – and their audiences – about Beatrix Potter, not as the well known author of the Peter Rabbit books, but as a scientist. She was a mycologist who learnt a great deal from Charles McIntosh, who was her family’s postman in Dunkeld when they were on holiday there. He was an expert in fungi – he had time to study them on his rounds! – and later on Beatrix would ask him to send her specimens in the post and she would send him back some of her watercolours in return. If you want to sing along – do go to the Beatrix Potter page where you will find all the words too!
Title: “The Sea of Life” Scientist: NORA MILLER Words by: Frances M Lynch in collaboration with Catherine Booth Arranged by: Frances M Lynch in collaboration with Margaret Cameron and Herbie Clarke Written in: September 2018 For: children’s voices and guitar Commissioned by: funds made available by Historic Environment Scotland, PRS Foundation, Creative Scotland, Hope Scott Trust and Foundation Scotland Performed by: Riverside Primary 5- 7g, Raploch Primary6, Herbie Clarke (guitar) with the voices of Frances M Lynch, Margaret Cameron (BBC Singers) and Eleanor Logan World Premiere: by the above, September 18th 2018, The Engine Shed, Stirling, Scotland
The piece was written for the Echoes Tour of Scotland 2018/19. It reflects the excitement of Nora’s life and that of her favourite fish – the Lungfish! The full text is here. We acknowledge support from Creative Scotland, Historic Environment Scotland and Foundation Scotland towards the writing and first performance of this music. The composition was also supported by Hope Scott Trust. Frances M Lynch is supported by PRS Foundation’s The Open Fund for Music Creators. The performance was also supported by the Ambache Charitable Trust.
Title: How Life is Lived in the Animal’s World – Lavender’s Blue Scientists: LAURA FLORENCEand DORIS MACKINNON Music by: Frances M Lynch Additional Music by: Marie Dare, Beethoven, Traditional, Liza Honeyman Words by: Frances M Lynch, Catherine Booth, Robert Burns, Lady Carolina Nairne, Walter de la Mare Written in: 2018 For: Speaker, Soprano, Mezzo, 3 girl soloists, and piano Performed by: Catherine Booth (Narrator), Margaret Cameron (Doris Mackinnon), Priscilla Adebambo (Young Doris Mackinnon), Frances M Lynch (Laura Florence and Piano), Ellie Brammer (Young Laura Florence) and Nicole Laidlaw (Lilias Mackinnon).
This mini opera was created for an event at The National Library of Scotland on January 18th 2018 where it was first performed by the same team as part of a project at Clovenstone Primary School, Edinburgh.
It is a reflection on the lives of zoologists, Doris Mackinnon and Laura Florence who lived next door to each other in Aberdeen when they were young girls, and is based on research by Catherine Booth. We imagine that the two scientists wrote to each other until they grew old, and through their letters we learn about their families, work and lives from hog lice, to birds, radio broadcasts to Beethoven and lavender to protozoa!
It includes a full – if interrupted – performance of “The Three Cherry Trees” by Marie Dare for voice and piano, and extracts from Nairne’s “Oh! Rowan Tree!”, Burns’“To a Louse”, Beethoven’s “Für Elise” and “We Shall ne-er meet again” by Liza Honeyman. The Nursery Rhyme “Lavender’s Blue” is used as an important theme.
Title: Laura and Doris Scientists: LAURA FLORENCE and DORIS MACKINNON Music by: Frances M Lynch Words by: Frances M Lynch and Clovenstone Primary 6 Written in: 2018 For: Mixed Voices and Guitar Performed by: The children of Clovenstone School (Primary 6) Catherine Booth (narrator), Herbie Clarke (guitar), Margaret Cameron (mezzo)
“Laura & Doris” is a sing-along song for children developed during workshops at Clovenstone Primary Schoolin Edinburgh in 2017. It is based on the imagined early lives of Aberdonian Zoologists Doris Mackinnon and Laura Florence. The enthusiasm of the children is catching – so do join in!
Title: Oh! Mangrove Crab – deep in the mud Scientist:KAREN DIELE Words by: Frances M Lynch Arranged by: Frances M Lynch & Herbie Clarke Written in: 2017 For: guitar and mixed voices Commissioned by: funds made available by PRS Foundation, Creative Scotland, Hope Scott Trust and Institute of Physics Scotland. Performed by: Eyemouth Primary School Singers World Premiere: by Herbie Clarke (guitar) with the voices of Frances M Lynch, Margaret Cameron (BBC Singers), Karen Diele and three pupils from Eyemouth Primary School – Aimee Robb, Holly Windram and Jessica Henderson – on June 18th 2018, Ebba Centre, St Abbs, Berwickshire, Scotland
This fun sing-along song is based on the research of Dr Diele and her Brazilian colleagues from the REMAR network. Feel free to join in!
CHORUS Oh Mangrove Crab deep in the mud Caranguejo-uçá I pull him from the mud Caranguejo-uçá And throw him in my bag
VERSE 1 In Brazil lives the Mangrove crab Deep in the mud Burrowing under the Mangrove Trees Deep in the mud The fisher folk dig and try to grab They really need to catch that crab
VERSE 2 In St.Abbs you can almost hear High on the cliffs Data streaming from Brazilian phones High on the cliffs The Fisher folk use an App from here To save their fisheries over there
VERSE 3 Dr. Diele loves those Mangrove Crabs Deep in the mud She hears what their saying, she’s keeping tabs High on the cliffs Science and Fishing have one great aim Together they can help sustain
CHORUS Title: The Physics of Sound Science: PHYSICS Words: Frances M Lynch Written in: 2018 For: Children’s Voices Performed by: Eyemouth Primary School P6-7 World Premiere: Eyemouth Primary School, 25th June 2018
This is part of a longer song which was created to teach older primary children about physics and how sound moves in different media. This group mastered most of the song but we only managed to record this section!
This music is part of the Stormsong 1881 Minerva Scientifica Project and was written in collaboration with Meteorologist, Marjory Roy. It is a direct translation of Meteorological data created from the Daily Weather Report which was published by the Met Office covering the period before during and after the storm of 1881. It is a tribute to the community of Eyemouth, and their extraordinary courage and tenacity in recovering from the Great Disaster of 1881.
Title: Williamina,Astronomer fae Dundee Scientist: WILLIAMINA FLEMING Words by: Frances M Lynch Written in: 2016 For: Solo Voice and Sweeping Brush Performed by: Frances M Lynch World Premiere: 1st Aug 2016, The Book Club, Shoreditch, London, as part of events run by the Royal Society
I found the story of Williamina Fleming irresistible – a heroine who rose from difficult circumstances to become a famous Astronomer. I based it on a traditional Jacobite tune – “The Piper O Dundee” as sourced from Hogg’s “Jacobite Relics of Scotland” (1821). It was written for the award winning Edinburgh Fringe show “Superwomen of Science”
Title: A Lament for Invertebrates Scientist: KAREN DIELE Words by: Frances M Lynch & Karen Diele Written in: 2017 For: solo voice, with recordings of the environment at St. Abbs Marine Station and children from Canal View School making funny noises! Performed by: Frances M Lynch World Premiere:June 20th 2017, Edinburgh Napier University, Sighthill Campus as part of the Scottish Superwomen of Science Project.
When I first met Karen Diele I was struck by her passion for her work both here in Scotland and in Brazil. She opened my eyes to an underwater world full of sound. Her research with her colleagues Edward Bolger, Dr Rob Briers, Dr Mark Hartl, Petra Harsanyi, Dr Ted Henry, Nick Mackay-Roberts, Dr Sonja Rueckert, Kevin Scott, Matthew Wales at Edinburgh Napier University and St Abbs Marine Station forms the basis of the text – a series of questions they are addressing about the effects of noise on sea creatures. The underwater sea world, also inspired by discussions with geo-physicist Dr Lara Kalnins includes the children of Primary 6, Canal View Primary school making sounds like the pistol crab, pile drivers and the final bubble curtain (made with a mixture of vocal sounds and straws in bottles of water) which helps reduce sound underwater.
Title: Muriel’s Eye (M wana wa nnyabo ) Scientist: MURIEL ROBERTSON Words by: Frances M Lynch, Traditional Additional Music: Traditional Ugandan lullaby M wana wa nnyabo collected by Robinah Nazziwa Written in: 2017 For: solo voice and female chorus Performed by: Frances M Lynch World Premiere: August 5th, 2017, Edinburgh Festival Fringe, part of “Scottish Superwomen of Science”
Women in all cultures have been creating and singing lullabies since time began. The piece uses a popular Ugandan lullaby collected by Robinah Nazziwa a local music teacher. It is in Lugandan – the language Muriel Robertson learnt from her assistants when she was working on sleeping sickness there. The African material contrasts with the story of her life and work, sung in the style of a traditional Scottish Song.
I was lucky enough to go to school in Scotland at a time when all children were assessed at an early age for their musical ability. A violin was then thrust into our arms, an instrument of torture to our families for years to come. School provided a rich cultural environment which seemed to naturally lead on to studying singing at the Royal Scottish Academy of Music, where composer Janet Beat inspired my interest in contemporary music which I moved to City University, and Guildhall School of Music, London, to pursue.
I sang, mainly contemporary music, with electronics, and just kept doing it until I became good enough to be invited to tour around to Festivals all over the world. I founded theelectric voice theatre, staging very difficult music as a producer and director. I have a small teaching practice and love workshop leading with children. Composing arrived by accident. I was working as music director to a theatre company when they decided they didn’t like the music…….. I became their resident composer for 10 years!
Premiering “A Night at the Chinese Opera” by Judith Weir with Kent Opera (and falling over a lot)
Performing at the BBCSO Cage Weekend at the Barbican dressed as a tramp
Every time my students or school groups make progress
Clovenstone Primary School Edinburgh Workshop
Did You Know?
I can make the sound of an elephant trumpeting…!
An Inspiring Woman
Judith Weir (Master of the Queen’s Music) has been an inspiration since I first met her in London in the 80’s. Much earlier it was a nun who wrote music for us to sing on a weekly basis. I didn’t realise at the time that this was unusual, but I did recognise her work as being really first class. These days I spend a lot of time finding and performing music by women composers from the past, introducing their work to children and commissioning contemporary women, all of whom are an inspiration.