Irelands most forward thinking contemporary classical group, Crash Ensemble, celebrate 10 years in existence this year.

To mark the occasion, the ensemble, led by Artistic Director, noted composer and Trinity lecturer Donnacha Dennehy, will engage in a flurry of diverse musical activities that underlines the distinctly non-linear modus operandi this multi-faceted collective have forged for themselves over the past decade.

Central to these celebrations is a national tour that brings together the ancient Irish art of Sean Nós, Afro-Celt Sound System lead vocalist Iarla Ó Lionáird, the grandfather of minimalism Terry Riley and the highly regarded conductor Alan Pierson of the incredible Alarm Will Sound.

That the ensemble can call on such a diverse and impressive pedigree of talent is testament to the unconventional ethics that inform both Crash’s aural and visual aesthetic.

Dennehy, in his own words, has, “composed everything from orchestral music to stuff for electronics and video.”  Having grow up playing the flute and piano growing up, Dennehy spent his teenage years busking on Grafton Street (“that was more profitable than you might imagine”), before studying music at Trinity and further post grad studies in composition at the University of Illinois and at the Hague, Holland.

On his return to Ireland Dennehy decided to make good on the notion of creating an ensemble that placed as much emphasis on modern experimental composition as it did on the more refined classical styles. He imagined an ensemble that, rather then simply pay homage to the past, would openly embrace modern-day multi-media and arts, a creative process by which both parties would feed off each other in pursuit of a shared artistic goal.

“We wanted a new type of new music ensemble,” says Dennehy, “one that would engage energetically with the music of today.  We were opposed to an ivory tower mentality, and strove to capture an experimental audience eager to experience new things in the arts. When we first formed it, we had no idea how long it would last, and are delighted at its longevity.

“Each person has a role to play.  First off, it would not be in the vibrant position it is today without the incredible talent and dedication of the musicians involved. Programmes are decided by myself, and the day-to-day running of the business end, as well as production management is handled by our incredibly industrious manager Frances Mitchell. She also overlooks a very creative technical team including the likes of Jimmy Eadie on sound and Aedin Cosgrove on lights. Aedin, by the way, is also the co-artistic director of Pan Pan.

“Our primary goal is to present the most exciting new music of today. Crash is a different kind of new classical music ensemble, one that plays largely amplified. We get involved in interesting collaborations with multimedia and video art, and most important we devote ourselves to a musical repertoire, which while it is built on classical foundations, is visceral and engages with the world around it.”

With composition, particularly classical, the convention that is often applied is seen by some as stifling, while others see it as a necessary learning tool. The fact that Steve Reich and Terry Riley have collaborated with Crash Ensemble, along with the groups willingness to take on (and amplify) material by the likes of Stockhausen, Andriessen, Glass, and Cage  indicates a definite leaning towards modern composition.

Dennehy however takes a more pragmatic approach when discussing the classical conventions, particularly when he thinks back to the time he resided Stateside. “I especially enjoyed studying composition in the United States. I found the University of Illinois to be an amazingly stimulating place, full of lots of different approaches to composition. There were 12 composition professors alone on the faculty, all with markedly different views on music. If you study the history music as a series of traditional recipes then of course it would be stifling. However, there are interesting things to be learnt by analysing older music. Our interest is of course on newer stuff, from John Cage onwards.”