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How did you get that job?

Name Michael Ferguson

Job Title Score Reader for the Bank of Scotland Fireworks Concert Company Edinburgh International Festival / Scottish Chamber Orchestra

When did you start your job? My involvement in this year’s Bank of Scotland Fireworks Concert began back in April, as soon as the repertoire of music for the concert had been nalised. My rst step was to liaise with the conductor of the event, Matthew Halls, in order to establish which editions of the orchestral scores he had in mind for the performance. In mid- July, when all the music for the orchestra had been acquired, I sat down with Keith Webb of Pyrovision the Fireworks Designer, and marked the timed rework cues into my score.

So what does your job actually involve? During the live performance, I sit with Keith, and call out a series of numbered cues that indicate when he should ignite the reworks. Keith designs the whole display in advance so that it is perfectly synchronised with the music. In order to maintain this synchronisation during the live event, it is necessary for me to call some of the cues fractionally early, in order to allow for the small amount of time it that takes the rer to register my cue and press the ignition button. Certain reworks can have a “rising time” before they burst into view, so compensation for this delay must also be ‘built-in’ to some of the calls. Best / Worst Aspects? The best aspect of the job is undoubtedly being involved behind the scenes of such a spectacular event, and the sense that I am part of a much larger team. Unfortunately, during the concert, Keith and I will be tucked away in a bunker at Edinburgh Castle, so the worst aspect of the job is probably that I won’t actually see any of the reworks!

Tell us about your day job . . . Throughout the rest of the year, I am the Orchestra Librarian of the Scottish Chamber Orchestra, where I manage the SCO’s performance library, and acquire and prepare all the music for the orchestra’s concerts and tours. I am also a composer, and regularly write music for lm and animation. Before working with the SCO, I graduated with a degree in Music from Edinburgh University, and subsequently completed a Masters degree in Composition for Film and Television at Bristol University.

What’s the best way to get a job like yours? Gaining a rm grounding in all aspects of classical music is fairly essential, as is acquiring a wide-ranging knowledge of orchestral repertoire. It really helps to become as familiar as possible with orchestral scores and parts; something that my background as a composer has really helped me with. It is also important to gain experience in working with conductors, musicians, and music ensembles, as you will be required to work very closely with these people on the job. As timing and concentration is crucial to a great performance, how are you preparing for the big day? I’ve been practising hard at calling out the reworks cues in my score to recordings of the pieces, so hopefully by the time of the live performance, I will be able to do it with my eyes closed well, almost!

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Acting

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27 Aug–10 Sep 2009 109 THE LIST