Energy is Eternal Delight: A Tribute to Steve Martland

This was not so much a remembrance of the late Steve Martland, but a celebration of his work, his dedication and his outlook. An exceptionally prolific composer, he was perhaps most widely known in the mainstream for his writing with the BBC and with Warwickshire rock outfit Spiritualized. Just under the radar however, he was responsible for some of the most emotionally penetrating classical music of the last 30 years, and this small showcase—a Nonclassical event—at The Macbeth Public House and Venue was an exemplification of its diversity. The event was expectantly poignant as friends, colleagues, managers and promoters spoke about Martland’s passion for music, along with his inextricable desire to encourage creativity in schools through engaging with young people and demonstrating the value of artistic expression. He was a truly remarkable individual, and on June 5, 2013 in the middle of Hoxton, the bounding reach of his influence was made abundantly clear.

The Macbeth is located in the heart of Hackney; a tremendously vibrant borough in East London that is home to some of the most compelling artists and musicians of the city. The building is strewn with graffiti around the exterior walls, and on the inside, it looks as though it is more used to hosting hardcore punk shows than classical concerts. The bar was full of musicians, acquaintances and music lovers, who had accumulated in this small and peculiar space to commemorate one of London’s most revered musicians, where the atmosphere remained optimistic and brimming with energy for the duration.

As a tribute event, various collaborators were able to divulge their personal experiences in working with Martland, the majority of which involved heartfelt tales of meetings at his flat in Plimsoll Road, a mere 3 miles from The Macbeth. It was fantastic to see how engaged these people were, not only with the music itself, but with the principals this Liverpudlian gent adhered to. Introducing his musical creativity to younger generations was something he felt very strongly about, and the energy and compassion from which that stemmed, were brought to the fore of the evening’s first rendition.

After a short intro expressing their admiration for the piece they were about to play, Piano Circus approached their instruments with apparent caution; for they had chosen to perform Drill (1987). It’s an outstanding arrangement; one that emphasizes the importance of synchronization between musicians sharing a stage and the connection to the music they share. The movements within Drill are split so distinctly that each pianist must be instinctively aware of the other’s intent. The key-strokes are hard-hitting and jagged; a representation of the more stern and aggressive offerings Martland was responsible for. The Piano Circus duo did a wonderful job in reigning it in slightly for a shorter adaptation, which captured the pouncing nature that Drill embodies.

The mix of works that were played typify the diverging styles and influences Martland drew from. Following an introduction by host DJ Richard Lannoy, The Smith Quartet took to the stage. Reputable for sharing new and exciting music across continents, they had chosen to play Patrol, a personal favorite of mine. The bond between the late composer and the Smith Quartet runs deeply, and Patrol has been a part of the performers’ repertoire for quite sometime, alongside Crossing The Border (1990), which was written specifically for them. Despite the calmer presence of Patrol in comparison to Drill, it still started, like each of Martland’s efforts, with an unbelievable kick. The music asserts itself, making its presence instantly felt. As performed by this mesmerizing Smith outfit, it was a real treat to witness live. Of everything that was performed that evening, this piece seemed to have the most resonance because of the nature of the event. It’s a powerful and sombre work that had additional pelt as part of a tribute to its composer.

I wondered how frequently The Macbeth sees such transformation in stage set-up, particularly as it went from hosting pianos, cellos and violins to percussion instruments and bass guitars – perhaps another indicator as to how diverse these recitals were and the scope of Martland’s music. The final rendition of the evening was by The Steve Martland Band — an ensemble designed specifically to perform high-energy, genre spanning works. Horse of Instruction was quite possibly the most perfect piece the act could have chosen. With its remarkable piano solos and bass induced sections, it soon mutated into a multi-textured kinetic throb of jazz and contemporary classical music that washed across the audience, providing an excellent demonstration of how these works had progressed over the years. Horse of Instruction was written in 1995, which followed the previous performances in terms of chronology as well as in tempo amplification.

Despite the regrettable reason for the show’s inception, it was a spectacular concert that illustrated the importance of an exceptional composer. The speeches were extremely moving throughout, but it was the artist’s music that proved to have the most impact. The evening’s performers did such a wonderful job in rendering his compositions for the occasion. As the spectacle drew to a close, Sally Groves of Schott (Martland’s publisher) , said a few words about how stunning Steve Martland’s music was to her, and how his enthusiasm and his efforts will live on in future renditions as they continue to be performed world wide. It’s inevitable that this will be case, because, as the evening’s selection demonstrated, Steve Martland’s work is essential, and it shall continue to thrive as a testament to his radiant determination.