1. This PDF biography and C.V. is hyperlinked to Marcs WebsiteMarc Yeats is a composer and visual ar3st. His intense music has been performed and commissioned around the world. He has worked with many dis3nguished performers, ensembles and musicians including Psappha, the London SinfonieAa, the Endymion Ensemble, Paragon Ensemble, the ScoCsh Chamber Orchestra, the BBC Philharmonic Orchestra, Hall Orchestra, Tokyo City Philharmonic and Gewandhaus Radio Orchestra, among others with many broadcasts on BBC Radio 3, BBC Radio Scotland, European and US radio sta3ons.Marc is Composer-in-Associa4on with: Thumb Ensemble [Birmingham UK]Manchester Pride [Manchester UK] Chamber Cartel [Atlanta, Georgia US]SATSYMPH [Bristol/Crewkerne UK]Recent large music commissions include: SATSYMPHs on a theme of Hermes; an original work which fuses contemporary classical ensemble music and contemporary poetry in an en3rely new and innova3ve way having a truly unique method of delivery via smartphone apps, and sturzstrom, a large choral work commissioned by Coastal Voices as part of an umbrella project that explored the Jurassic Coast with newly commissioned composi3ons linking music and earth sciences through the voice. Performances included the premiere, 300 feet underground in Beer Quarry Caves, Devon; Lighthouse Poole and the opening ceremony of the Olympic sailing events in Weymouth and Portland, Dorset in July 2012. Other commissions include a string quartet for the Corsham Fes4val, black bile for Thumb Ensemble and worship of the oak for Manchester Pride, a brass quintet for Alba Brass, the shape distance for Chamber Cartel [US] and many other commissions to be announced.

2. aboutLISTEN | Marcs musicINTERVIEWS | video interviewsCATALOGUE | list of worksLINKS | links + partnersLatest news and conrmed premieres 2013: June. Marc is Ar3st-in-Residence at the Marburae Art Gallery, Maccelsed, Cheshire for summer 2013 with the premiere of two piano works in the Barnaby Fes4val performed among the exhibi3on of his pain3ngs. Marc is proud to announce he is now composer-in-associa3on with the Atlanta new music ensemble Chamber Cartel more: Pianist Pierre-Arnaud Dablemont announces his collabora3on with composer Marc Yeats for 2014 and the recording of a signicant body of work. Read more here June. Forthcoming premieres: pathos for solo cello, with Patrick Tapio Johnson, Antara Fes3val London July rre for bass trombone and piano performed by Dirk Amrein and Jrg Henneberger, Mahidol University, Bangkok, Thailand August. An all Yeats lunch3me recital with crowded rooms ensemble including Jenni Hogan (ute/piccolo) and Leo Nicholson (piano) as part of Marcs Manchester Pride composer-in-associa3on role at The Cosmo Rodewald Concert Hall, The Mar3n Harris Centre, Manchetser University as part of Manchester Pride Classical Concert Series including playful geometry for piccolo and piano, pathos for solo cello, a the^ of cold moisture for solo ute, ENMA ELI for solo piano and mimesis for ute, cello and piano September. As part of Marcs composer-in-associa4on rela4onship with the US new music ensemble, Chamber Cartel will premiere the en3re the shape distance [1-7] series in Atlanta, Georgia. These works will also be studio recorded for Chamber Cartels rst CD release Autumn. Premieres of logos concerto for cello and 7 instrumentalists and adams grave clarinet quintet with Patrick Tapio Johnson and friends, London, 2013 October. black root for E at clarinet, Markus Wenninger, Krem, Austria Many more premieres and commissions to be announced soon!

3. What others have said about Yeats work:Marc Yeats musical voice is quite unlike anything else; the music is challenging to both performers and audiences, and very communica3ve. He produces extraordinary composi3ons that not only look and sound good, but demonstrate a very high level of academic learning, while being breathtakingly original. Sir Peter Maxwell DaviesClick HERE to listen to Sir Peter Maxwell Davies in conversa8on about Marc Yeats PAGAN II for orchestra before he conducted the work with the BBC Philharmonic.Yeats instrumental roles are demanding, pushing every player to extremes of agility. The intensi3es of expression are not empty extravagances, however, but the comment of an expressionist drama that exudes the passion and life-energy of their creator. Piers HelliwellRefreshingly unfeAered in concept its something of a tour de force Lynne Walker, The Independent on The Round and Square Art of MemoryHe uses his orchestra resourcefully; fresh and intriguing colours, but he uses his musical 3me even more resourcefully, never allowing the ear to lose track of the changing and evolving ideas. The Scotsman on The Round and Square Art of MemoryYeats has a strikingly individual feel for the texture of an orchestra, yet its never in all-purpose avant-garde alienated tones. But this is the second fabulous piece Ive heard from this emerging composer, and if theres more where that came from we have a major new Bri3sh talent on our hands. David Fanning, The Telegraph on The Round and Square Art of MemoryThat Yeats has something to say in the wild shrieking music is beyond ques3on. He hurls himself at the sound with an admirably pure and savage impressionism. The Scotsman on The Anatomy of Air he unleashes every shade on the paleAe, and con3nually pushes instruments, textures and dynamics to extremes. The Herald on The Anatomy of AirThe orchestral work I See Blue, is startlingly original in its structure and orchestra3on, using brass and bass drum to unexpected and powerful eect, with dazzling combina3ons of string and wind colour. Sally Beamish

4. Marc Yeats is one of the most exci3ng composers I have encountered in recent years. His ability to use maximum with all 3mbres of the instrument, whilst never sacricing the very heart of the music, gives the musician many challenges which are exhilara3ng to discover. Kathryn StoRThe sheer noise of the percussion sec3on through which Kathryn StoA somehow managed to make the piano audible set a new decibel level for this hall. Yet one felt an original crea3ve mind at work, not just a bruiser but a maverick with some kind of purpose. Michael Kennedy on The Round and Square Art of Memory VOX review: Sarah WaAs, Park Lane Group Young Ar3st Concerts, Purcell Room, South Bank Centre, London: VOX was premiered by and wriAen for Sarah (WaAs), with the inten3on of depic3ng as many voices as the instrument is capable of. In Sarahs hands the instrument spat, grumbled, screamed and sang throughout. Making use of the al3ssimo range of the instrument at every turn, this has to be one of the most demanding yet eec3ve works in the repertoire, both musically and technically. Sarah James, Clarinet and Saxophone MagazineYeats is largely self-taught, though he has received support and encouragement from Maxwell Davies ater aAending his composi3on summer school on Hoy some years ago. He is also a painter, and the possibility that the audio and visual aspects of his crea3ve imagina3on are linked in some way should not be ruled out. Yeats is an experimental composer in his own highly individual manner, and this is reected in almost all his recent scores. a wai4ng ghost in the blue sky was the most advanced music on oer at this years Fes3val, yet the condence with which Yeats deployed his material ensured a warm recep3on. John Warnsby Fes8val Review: St Magnus Fes8val 16 21 June 2000Part of the Coastal Voices Project in Dorset and east Devon, sturzstrom has no famous par3cipants. Its a vocal work I stumbled across while reading the blog 5against4.com and is one that expresses in the words of the composer, Marc Yeats the forma3on and geology of the Jurassic coast concentra3ng on the phenomina of landslips, mudslides and coastal erosion. Im sure we can all agree its been a while since we heard one of those. The piece was made using nothing but vocals from community choirs and pebbles for percussion but it was no simple aair. Geologists were oered crea3ve input, while not wan3ng to limit the music to conven3onal nota3on Yeats created a variety of signs and symbols for the vocalists to learn and interpret (looking at the score feels more like a maths exam than a piece of music). It certainly sounds dierent: the volley of shrieks and bellows have a feral quality to them and create genuine excitment. At the same 3me, crescendos can disappear into whispers just as quickly. Tim Jonze On Shue Experimental music | The Guardian | 30th June 2012Marc conduc*ng sturzstrom in the icci360 Arena, Olympic Opening Ceremony, Weymouth and Portland, July 2012

5. Awards, Prizes, Commissions and Bursaries (selected)1994 Hoy Summer School, SCO, Sir Peter Maxwell Davies aHendance bursary1994 ScoIsh Arts Council Summer School and Travel Bursary.1995 ScoIsh Arts Council Composer Bursary.1995 ScoIsh Arts Council. AHendance fees for the AssociaNon of BriNsh Orchestras Conference.1996 ScoIsh Arts Council Composer Bursary.1997 ScoIsh Arts Council Composer Bursary.1997 Commission St Magnus FesNval 25 minute orchestral piece for the SCO1997 Hope ScoH Trust Composer Bursary (for 3 years).1997 ScoIsh Arts Council Commission for visual art Resound project.1997 Prize winner Next Millennium InternaNonal Composers Award, Japan.1999 The Arts Trust of Scotland travel expenses for Italian performance.1999 Commission BBC 32 minute orchestral work for the BBC Philharmonic and Kathryn StoH1999 Commission The London SinfonieHa ensemble piece2001 Commission Kathryn StoH solo work for saxophone2001 Five Islands Project Colour Songs: The NaNonal LoHery Access and ParNcipaNon Scheme.2001 Commission Sarah WaHs solo work2002 Commission Hebridean Music Workshops SAC loHery funds 40 minute ensemble work2002 Commission Hebridean Music Workshops SAC loHery funds 5 watercolour painNngs2002 Commission ensemble piece 175 East, New Zealand2003 Commission Lonba, ArgenNna ensemble piece2004 Commission An Tuireann SNllness in movement 60 ensemble piece2004 HI~Arts ArNsts creaNve bursary2005 Commission Henri Bok solo work2005 Commission RoHerdam Conservatorium orchestral work2005 First prize internaNonal composing compeNNon, WBCC, RoHerdam, Holland2006 GO EVENTS grant towards development of website music download faciliNes2006 Hope ScoH Trust Funding towards the producNon costs of the new CD opera Haar2007 Commission ScoIsh Clarinet Quartet work for 4 bass clarinets and percussion2007 Commission Symposia work for 4 instrumentalists and digital sound-track2007 Commission SCAW new work for bass clarinet, piano and electronic sound-track2007 Commission Trio IAMA new work for ute, cello and piano2007 ScoIsh Arts Council Professional Development Grant developing new dance music.2007 2009. An extensive list of commissions specically referenced in Yeats music biography.2008 Hall Orchestra with My Blood is as Red as Yours for World Aids Day2009 Arts Council England Grants for the Arts collaboraNve locomoNve GPS music/word fusion.2009 Kokoro commission, shadow and the moon for sextet.2009 BBC commission. rhema for harpsichord circa 10mins. In total.2010 Announced as Composer-in-AssociaNon with Manchester Pride2010 1 of 5 shortlisted composers with PRSF NMA (Turner Prize for music) with SATSYMPH2011 Commissioned work for ConsorNum5 recorder quintet for 2011 the bone eaNng snot ower2011 New work crowded rooms for 14 instrumentalists for Leeds University in March 20112011 New commissioned work for silent lm with Ensemble Amorpha (amorpha_shorts) for 20112011 Commissioned work Eris for ute and viola Manchester Pride Music FesNval 20112011 Commissioned work for massed choirs sturzstrom for 2012 Cultural Olympiad (Coastal Voices)2011 Commissioned work SATSYMPH on a theme of Herms 2012 Worship of the oak [trio for violin, cello and piano] -Manchester Pride FesNval commission 2012 ethos [solo trombone] Dirk Amrein 2012 the need re [string quartet] Corsham FesNval commission 2012 sunergia [piano four hands] commissioned by Music Orba Duo 2012 black bile [ensemble] commissioned by Thumb Ensemble 2012 quarter sounds [solo bass clarinet] commissioned by Sarah WaHs 2012 pathos [solo cello] commissioned by Antara FesNval 2013 hyran [solo viola] commissioned by Stephen Upshaw 2013 the shape distance series, set [1-7] commissioned by Chamber Cartel 2013 black root [solo E at clarinet] Markus Wenninger 2013 corpuscular theory of light [clarinet, soprano saxophone, xylophone]

6. Membership and Alia4ons1993 1996 Member of the Skye and Lochalsh Arts Council.1995 Member of the Performing Right Society.1995 Member of Mechanical Copyright ProtecNon Society.1996 Nominated to full membership of the Composers Guild of Great Britain.1996 2005 Board member for An Tuireann Arts Centre.1997 ArNsNc Director for Skye and Lochalsh New Music FesNval.1998 2000 Vice Chairman for An Tuireann Arts Centre.1998 2003 Member of the BriNsh Academy of Composers and Songwriters.2000 2005 Chairman of the Board of Directors, An Tuireann Arts Centre.2006 2007 Board member HI~Arts2007 Advisor to the Board of An Tuireann Arts Centre2009 Board member of PVA MediaLab, Bridport, Dorset2009 2012 Chair of PVA MediaLab, Bridport, Dorset2011 Chair of Reach Dorset therapuNc arts acNviNes for people with mental health issues. 2012 - Chair DIVAcontemporary [arNst-led organisaNon commiHed to creaNvity/experimentaNon in the artsthe shape distance [6] 24x28 inches oil on mounted board.You can email Marc through the CONTACT pageTo view Marcs pain3ngs and drawings, please visit the GALLERYFor informa3on about forthcoming premieres, performances, events and news, please visit CONCERTS