info@kingsplace.co.uk Tel 020 7520 1440

Pushing the Boundaries

Feature

Zoë Keating

As a student in New York I was so happy to be in an orchestra, lost in that giant organism: being absorbed into a performance of Beethoven’s Seventh Symphony was a peak musical experience for me. When I found myself in an electronic studio with a reelto- reel tape machine, I started layering up the cello and realised I loved it. I guess I started to make my own ensemble to lose myself in…

I auditioned for the San Francisco Conservatoire but I suffered so badly from stage fright that my hands literally shook and I couldn’t play the Shostakovich Sonata I had prepared over so many months. That experience burnt me. I turned my back on that side of music-making and got into improvisation, formed a band.

Inevitably, we began to need to earn a living and I started working as a programmer in a software company in Silicon Valley. It was the dotcom boom in San Francisco and there were all these electronic musicians involved in tech, a ferment of experiment. I became a user-tester for my tech room-mate. I realised there was so much I wanted to do musically I had to figure out how to bring everything together.

Cellistically, it’s been a real journey. We spend our lives trying desperately to make a clear, projecting, beautiful tone, a sort of sonic perfection, in which every other noise of sound production is eliminated. If you layer up that cello sound it will overwhelm the audio spectrum, so I’ve learnt to make other sounds and noises with my instrument. A microphone can pick up the most amazing things, the breathy, halfsounds of bow-hair touching the string, a scrape on the side of the bridge, the fingers on the finger-board, all the sounds the audience will never be aware of. You layer those and it creates something otherworldly, almost a secret world of the cello. We spend ages working around our ‘wolf’ note, the one that will howl because of the clash of overtones, but I’ve created a whole piece just around mine.

‘I’ve learnt to make other sounds and noises with my instrument … to create almost a secret world of the cello’

Multi-tracking one instrument is really flexible, a structure in which I can be free to do things on the fly. I have quite a regimented plan of what I’ll do, but I save my mistakes and sometimes they lead me in different artistic directions. Software crashes on stage were a regular occurrence early on, which taught me how to speak to the audience.

Technology is just a means to an end. If the computer allows me to create a certain musical expression that I couldn’t do on my own, then I’ll use it. It’s more than I could ever make by myself. But, in the end, the experience we’re having isn’t about technology at all. It’s just about people existing in a moment in time.

Recommended articles

Prince at Kings Place

Feature

At 9pm on 14 Feb 2014, Prince – just weeks before he would fill stadiums across the country – played…

Read the article

Éliane Radigue: Exploring Occam

Feature

Helen Wallace introduces the legendary composer Eliane Radigue and her water-inspired series, Occam    

Read the article

John Metcalfe with the Xylem Orchestra 

Q&A

Composer, producer and arranger to the likes of U2, Coldplay, Peter Gabriel and Blur, New Zealander John Metcalfe makes a…

Read the article

Sound Unwrapped – autumn season

Feature

Welcome back to Sound Unwrapped, our series exploring spatial dimensions in live performance and immersive sound artists. Read on to…

Read the article

Explore Ensemble & Lotte Betts-Dean

Interview

Kurt Cobain, spatial collages and synths translated. Nicholas Moroz, Artistic Director of Explore Ensemble, talks to Helen Wallace about the…

Read the article

2023 in 10 events, introduced by Rosie Chapman

Feature

We asked Head of Artistic Planning Rosie Chapman to introduce 10 Kings Place events she will not be missing this year……

Read the article

2023 in 10 events, introduced by Helen Wallace

Feature

We asked Executive & Artistic Director Helen Wallace to introduce 10 Kings Place events she will not be missing this…

Read the article

Our highlights from 2022

Feature

From exquisite choral music through to Gaelic folk, Afro psychedelica and a Hot Fuzz reunion, 2022 has seen an extraordinary…

Read the article

Labour exchange

Feature

Joe Muggs introduces the shapeshifting work of Space Afrika, aka Joshua Inyang and Joshua Reid, Artists in Residence for Sound…

Read the article

Electric Dreamer

Interview

Jude Rogers introduces Hannah Peel, composer, performer, curator and broadcaster, and Artist in Residence for Sound Unwrapped

Read the article