Biography
After graduating from London’s Guildhall School of Music and Drama, Jocelyn performed with many pop artists including The Communards and Massive Attack, and formed Electra Strings for whom she wrote original material. She has worked extensively with eminent dance companies such as DV8 and Shobana Jeyasingh, and in 2002 she was commissioned by The Proms to write a work for The King's Singers in collaboration with Andrew Motion.
Pook recorded on two occasions with pianist Jeremy Peyton Jones for Rough Trade and later for Century XXI. About a year later, she joined Anne Stephenson and Audrey Riley to accompany Virginia Astley both on stage and record. Session work followed and alternated with her co-founding of the Electra Strings with Australian violinist Sonia Slany and an album on the Village Life label. This neoclassical chamber quartet later transformed into the Brilliant Strings after she and Slany had gone their separate ways.
As a solo recording artist, Pook released several albums. These included Deluge (1997), Flood (1999) and Untold Things (2003). Her career as a film composer took flight when cuts from her album Flood were used in Stanley Kubrick’s film Eyes Wide Shut. The piece Masked Ball, which incorporates a fragment of an Orthodox Liturgy played backwards and lyrics sung (or chanted) in Romanian, underscored the masked ball sequence.
Further scores have subsequently been contributed to several European films, notably the 2004 film version of William Shakespeare’s The Merchant of Venice, Peter Kosminsky’s film on David Kelly, The Government Inspector, Brick Lane and 2007’s Caótica Ana. Pook was commissioned to write a short opera, Ingerland, for ROH2 (the contemporary producing arm of London’s Royal Opera House) which was performed in the Royal Opera House’s Linbury Studio Theatre in June 2010.
Read more about this topic: Jocelyn Pook
Famous quotes containing the word biography:
“As we approached the log house,... the projecting ends of the logs lapping over each other irregularly several feet at the corners gave it a very rich and picturesque look, far removed from the meanness of weather-boards. It was a very spacious, low building, about eighty feet long, with many large apartments ... a style of architecture not described by Vitruvius, I suspect, though possibly hinted at in the biography of Orpheus.”
—Henry David Thoreau (1817–1862)
“In how few words, for instance, the Greeks would have told the story of Abelard and Heloise, making but a sentence of our classical dictionary.... We moderns, on the other hand, collect only the raw materials of biography and history, “memoirs to serve for a history,” which is but materials to serve for a mythology.”
—Henry David Thoreau (1817–1862)
“A great biography should, like the close of a great drama, leave behind it a feeling of serenity. We collect into a small bunch the flowers, the few flowers, which brought sweetness into a life, and present it as an offering to an accomplished destiny. It is the dying refrain of a completed song, the final verse of a finished poem.”
—André Maurois (1885–1967)