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Member
| Composer/Lyricist: | Composer |
| Genre: | Media |
| Email: | mail@dereknisbet.info |
| Website: | www.dereknisbet.info |
Derek Nisbet specialises in creating music for unusual situations. He has composed music for a tight-rope walk on millennium eve (Tightrope Prelude), for a theatre show in an underground car-park (Wanderlust), for a telephone answering machine (Telephone Exchange) and for aerial dance in Trafalgar Square (Touch Don’t Touch).
He is best known as composer and film-maker with acclaimed company of artists Talking Birds, working alongside writer/performer Nick Walker and designer/visual artist Janet Vaughan, and for his works for film with live music, which include 2 letters and Recent Past, both with orchestra London Musici. He has collaborated with choreographer Lisa Torun on dance, music and film projects in the UK and Sweden, and co-directed with her the Eighth Composer’s and Choreographer’s Exchange for the South Bank Centre. Derek composed and performs with Jake Oldershaw An Intimate History, a music-theatre show for one audience member at a time, which has been staged at Birmingham Rep Theatre and Battersea Arts Centre. He also performs with the cross-artform improvisation group Fence Crossing.
Derek’s work has been performed at the Queen Elizabeth Hall, London, the Lilian Bayliss Theatre, Sadler’s Wells, Coventry Cathedral and the Malmö Palladium, Sweden, and his work has been heard on BBC Radio 3’s Late Junction, BBC Radio 4’s afternoon play, and on television in the UK and Ireland.
See-Saw
“The string music is composed by the Britt Derek Nisbet and it has an ardent and concentrated tone, sometimes broken by sparkling pizzicato sequences. A still tenderness prevail, a dignity and held back power which impresses greatly.” (Skånska Dagbladet)
Mysteries 2003
“a wonderfully arresting and edgy fairground sound of concertinas and fiddles” (Irish Times)
An Intimate History
“a delightful nugget of theatrical waywardness and invention” (Lyn Gardner, The Guardian). More info: http://www.jakeoldershaw.com/
Wanderlust
“a bona fide example of a multi-media live art event that delivers” (Live Art Magazine)
Score/parts available:
Triptych (Lisa Torun Dance Co 2002)
Soundtrack for dance premiered at Lilian Bayliss Theatre, Sadler’s Wells, London.
Ocean Always There (Talking Birds 2002)
Music for radio elegy by poet Ian McMillan.
See-saw (Lisa Torun Dance Co/Derek Nisbet, UK version 2001)
A music-dance cycle, performed in the round by 3 dancers and 3 musicians (String Trio - violin, viola, cello).
CD available (as heard on BfBC Radion 3's Late Junction). Also available: score for Suite from See-saw for string trio.
Cool Water Murder (BBC Radio 4, 2001; Belgrade Theatre, Coventry, 1999)
Score for theatre/radio drama.
“Derek Nisbet’s movie-style score adds a real dynamic to the proceedings” (Birmingham Post)
Tightrope Prelude (commissioned by Coventry & Warwickshire Promotions for the organ of Coventry Cathedral, 1999)
Performed live on New Year's Eve 1999 as a prelude to teh tightrope walk between two of Coventry's Spires by French dare-devil Ramon Kelvink. Played by Rupert Jeffcoat, Directory of Music, Coventry Cathedral. Subsequently performed by Kevin Bowyer at the Warwick & Leamington Festival in the UK and Spain.
"Stiring music specially composed for Kelvink gave the whole event the feel of a Wagnerian opera" Coventry Evening Telegraph
Score Available:
Recent Past (Talking Birds/London Musici, 1998)
Composer/director of piano trio with multiple screen video. Premiered at Adrian Boult Hall, Birmingham, by London Musici Trio.
2 letters (London Musici/Post Office/Talking Birds, 1997)
Composer/director of film with live orchestra, performed by London Musici conducted by Mark Stephenson, at the Queen Elizabeth Hall, London as part of `Image-Music-Text'. Nominated for the award of Region's Best Screen Composer at the 16th Brimingham International Film & TV Festival.
“Nisbet has done what would be unthinkable in Hollywood - he’s cut the film to the needs of his music, not the music to fit the film...fascinating” (Peter Kingston, The Guardian).
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