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May 2017 – upcoming London gigs – I’m This I’m That play Moondog, plus Ed Dowie (19th May); Trembling Bells spinoff Alex Rex plus The Left Outsides and Plague Dogs (20th May)

14 May

It’s always good to hear that Homerton’s 33 Chatworth Road – a.k.a. “The Dentist” – is hosting another of its gig-cum-house-parties. I’ve still got fond memories of the first concert I ever went to there: a mixture of jazz atmospheres, experimental folk and mythic New York chamber pop from Sealionwoman, Foxout! and Liam Singer (which you can read all about here.)

I’ve been out of the loop regarding their activities for too long, but here’s quick news on another couple of imminent shows there in collaboration, one in collaboration with folk promoter Muckle Mouth and the other with the Tin Label. (There are another two coming in the following week…).

* * * * * * * *

I'm This, I'm That, 19th May 2017

Muckle Mouth and 33 Chatsworth Road present:
I’m This, I’m That (playing the songs of Moondog) + Ed Dowie
33 Chatsworth Road/The Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Friday 19th May 2017, 7.00 pm
– information here, here and here

Assembled rapidly from the gig publicity, and from Wikipedia:

“Louis Thomas Hardin, better known as Moondog, was an American composer, musician and poet. His music took inspiration from street sounds, such as the subway or a foghorn. It was characterized by what he called “snaketime” and described as “a slithery rhythm, in times that are not ordinary […] I’m not gonna die in 4/4 time.” Many of his works were highly contrapuntal, and he worked hard on perfecting his counterpoint. He was also the inventor of several musical instruments (including a small triangular-shaped harp known as the “oo”, another which he named the “ooo-ya-tsu”, and a triangular stringed instrument played with a bow that he called the “hüs” (after the Norwegian, “hus”, meaning “house”). Perhaps his best known creation is the “trimba”, a triangular percussion instrument that the composer invented in the late 40s..

“Moondog was blind from the age of sixteen. In New York from the late 1940s, until he left in 1972, he could often be found on 6th Avenue between 52nd and 55th Street wearing a cloak and Viking-style helmet, sometimes busking or selling music, but often just standing silent and still. He was widely recognized as “the Viking of 6th Avenue” by thousands of passersby and residents who weren’t aware of his musical career.

“Dedicated Moondog interpreters I’m This, I’m That return to The Dentist performing their own arrangements/transcriptions of Moondog compositions with support from Ed Dowie (a Daylight Music favourite – there’s more about him here). Due to massive demand, there will be a double performance – an early show and a late show, with the one you see depending on when you’ve bought your ticket. Doors open at 7.00pm for fire/drinks/chat…”

Schedule:

7.30pm – first Ed Dowie set
8.15pm – first I’m This I’m That set
9.15pm – second Ed Dowie set
10:00pm -second I’m This I’m That set

Here are a couple of clips from the previous I’m This I’m That Moondog show back in July 2015, plus a taste of Ed Dowie:




 

* * * * * * * *

33 Chatsworth Rd and Tin Angel Records present:
Alex Rex + The Left Outsides + Plague Dogs
33 Chatsworth Road/The Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Saturday 20th May 2017, 7.30pm
– information here and here

Alex Rex: 'Vermillion'“This is the one and only live outing with full band for Vermillion – Alex Neilson (of Trembling Bells)’ solo record as Alex Rex. Aside from a Cerys Matthews session the following morning, the material from this fantastic record will never be performed again.”

From ‘The Guardian‘:

“His debut solo album Vermilion presents him as a provocative, poetic lothario with the alter ego Alex Rex. On record, rose thorns grow in Rex’s throat and he sleeps with girls for their minds as well as their bodies… Written during a “particularly self-destructive” period in his life in late 2015, Vermilion begins with the Gregorian chant-inspired blues of The Screaming Cathedral, with a chorus telling of “horror heaped on horror”. Please God Make Me Good (But Not Yet) features a girl sticking pins into a voodoo sex doll of him, before he has a “hit on myself.”

“Getting the worst bits of himself out there was therapeutic and necessary for Neilson. “I wanted songs that spilt out of themselves. The records I cherish most are asymmetrical things, full of blemishes,” he says. But there’s plenty of perky, almost poppy moments too. Neilson wrote the skronky psych-blues of Song for Dora while reading “lots of Ovid and taking MDMA”, while Postcards from a dream has a remarkably radio-friendly, West Coast-brightened Hammond organ intro before it kills its A-list potential with lyrics about “a necklace of bungee cord” and Adam “cup[ping] his nuts behind the tree.” Sex is everywhere, but this shouldn’t surprising for a folk musician, Neilson laughs. “The oldest folk songs are lusty and carnal. And I like having sex! People do!”




 
This in from the promoters: The Left Outsides have joined the bill, playing in an Alison/Mark guitar duo formation.” If you remember, these are further Daylight Music favourites, so I’ll just steal the blurb from a previous DM show I posted about – “Mark Nicholas and Alison Cotton (are) a London-based husband and wife duo whose atmospheric, hypnotic songs echo Nico’s icy European folk, pastoral psychedelia and chilly English fields at dawn.”


 
The third act is Plague Dogs, about whom I’ve been able to find out precisely nothing: but they must have impressed Muckle Mouth, since they’re also playing at the Family Élan gig the following. Maybe when I get around to posting about that I’ll have found out more…
 

May 2017 – upcoming London gigs – Society of Imaginary Friends’ Shakespearian soiree (May 5th); Stergin’s EP launch (May 7th)

1 May

That rapidly approaching stream of babble heralds an imminent Soif Soiree in north London…

Society Of Imaginary Friends present:
Society of Imaginary Friends Soiree: “Are you Shakesperienced?” (featuring Society Of Imaginary Friends + Cian Binchy + Millie George + Amy Neilson Smith + Connor Arnold + others t.b.c.)
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Friday 5th May 2017, 8.00pm – free event
information

Society of Imaginary Friends Soiree, 5th May 2017“KAPPOW!! We have a happening, happening, “zzzz” leave the zeds behind!! and find a corner of your mind.. BAM!!! you got it Sam, no Flim Flam it’s 100% solid 22 carat trip… From Shakespeare (he’s like an early English Ginsberg) Gloriana Street (viola da gambas, crumb horns (sic)… CRAZY!!) to Boulavard Bad Daddio, music to self expressionist possessionist, “silence” from the Ciccada Quartet we take our Tequila at sunset, don’t fret, get un-straight and ZOOM back in to the room with Lord Buckley lying with the Daisies… what??

“It’s Spring, Brothers and Sisters, let’s frolic… with dynamite nytro… Millie GeorgeAmy Neilson Smith… will blow your mind completely up…a secret special guest… Cian Binchy as far out as a shout and the never-ending reverberation echo across the canyon…yeah… Society Of Imaginary Friends…and a special guest DJ…  WE ARE THE MERRY PRANKSTERS!! Don’t forget it is free entry and there is amazing Vegan food and award winning beverages to purchase…”

OK, apart from that last line it made even less sense than usual. There seems to be poets and Elizabethan trappings; they might have gone mad; it’s free. What have you got to lose?

(Update, May 4th – singer/ songwriter Connor Arnold has been added to the bill – a Mountview Academy of Theatre Arts all-rounder whose musical influences are apparently “Newton Faulkner, Scroobius Pip, The Baseballs, Van Morrison, Maroon 5, The Eagles, Fall Out Boy.” And possibly crumhorns. Who knows?)

* * * * * * * *

A couple of days later, there’s this…

Stergin, 7th May 2017

Austrian Cultural Forum London presents:
Stergin + Chaos Theory DJs
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Sunday 7th May 2017, 6.30pm
– information here and here

Stergin are celebrating the release of their EP ‘Caramel Tony In Her Pleasuredome’ with this concert at one of London’s coolest little venues, Servant Jazz Quarters (the record is being released via Naim Records). Expect distorted clarinets, synth basses, vocals, guitar, field recordings turned into beats and electronic noises alongside Adam Betts’s wild, creative drumming. To hear them live is to catch onto something special indeed – something that’s evolving every concert. The amazing guys from Chaos Theory will be DJing before and after the concert.”

Further press splurge:

“A record that you just couldn’t have heard five years ago. It’s completely in the now, in the moment, trying to push the boundaries of what’s possible and what can be done.” Tom Robinson, BBC Radio 6 Music.

“Like most of the great modern music, Austrian Vinzenz Stergin‘s compositions defy genre brackets, combining elements of electronics, blues, classical and rock music. Think whimsical pop in the vein of Anna Meredith.” – ‘God Is In The TV’

“Oddly infectious, the sheer alien nature of the sound is allied to a whimsical pop touch that truly gets under the skin.” – Robin Murray, ‘Clash Magazine’

Regardless of all that, here’s the video for EP track Every Now And Then, which sees Stergin commandeering, amongst other things, the Docklands Light Railway and the horse fountain in Piccadilly Circus as venues for a spot of guerilla filmmaking in which he dozes or dances in front of a slew of unwitting British extras who do their best to ignore him. The dancing – and the music, bear quite a lot of resemblance to the quirkily charming, shape-throwing synthpop which Dan Black did both in and out of The Servant about a decade ago. And the face makeup? Marillion circa 1984.


 

May 2016 – upcoming London classical/experimental gigs – Kammer Klang with Scenatet/Matt Rogers, David Helbich, Benjamin Oliver/Yshani Perinpanayagam (May 2nd); Ensemble in Process presents a showcase of modern American composers (May 15th)

27 Apr

Ensemble In Process: Americuration, 15th May 2017

Ensemble In Process presents:
Ensemble In Process: Americuration (featuring Zubin Kanga, Marsyas Trio, Jonathan Russell, Seth Bedford & Maria Fiore Mazzarini)
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Monday 15th May 2017, 7.30pm
information

Formed just under a year and a half ago, Ensemble In Process has progressed from being a small chamber ensemble (formed to compete in Nonclassical‘s annual Battle of the Bands Competition) to being a multiple-direction contemporary music project. Now straddling London and New York – and planning performances, programming and networking across the UK, America, Europe and the wider globe – they have a particular focus on helping contemporary composers without sufficient UK resources to achieve performances of their work within the UK.

Their debut concert as both performers and organizers showcases American composers. Bookended by performances of well-established Steve Reich pieces (from the ‘Counterpoint’ series), it also features works by George Crumb, Michael Gordon, Timo Andres, David Lang, Missy Mazzoli and Jonathan Russell as well as premieres of music by Seth Bedford, Ryan Brown and Ian Dicke, and by EIP’s artistic director Brian Mark.

Participating are the three members of the Marsyas Trio – pianist Zubin Kanga, flautist Helen Vidovich and cellist Valerie Welbanks – and violinist Maria Fiore Mazzarini (plus Seth Bedford and Brian Mark, performing voice and piano respectively on some of their own works and on those of others).

Programme:

Steve Reich – Vermont Counterpoint (for flute & tape)
Timo Andres – At the River (for piano)
David Lang – Killer (for violin & electronics)
Ian Dicke – Get Rich Quick (for piano & fixed media) (UK premiere)
Seth Bedford – Three Cabaret Songs (for piano & voice) (UK premiere)
George Crumb – Vox Balaenae (for electric flute, cello and amplified piano)
Jonathan Russell – Assorted Past (for piano)
Missy Mazzoli – Isabelle Eberhardt Dreams of Pianos (for piano & video installation)
Ryan Brown – Bedside Manner (for flute & cello) (UK premiere)
Brian Mark – Lucid Dreaming (for flute & cello) (world premiere)
Michael Gordon – Light is Calling (for violin)
Steve Reich – Piano Counterpoint (for piano & electronics)

Regarding the future, Brian claims that “Ensemble In Process… will be a rotating vehicle with respect to size, instrumentation, and nature of specific programming. Eventually, it will also feature a special annual transatlantic event, which will become a six-hour concert marathon that will take place between London and select US cities via live streaming. After its debut concert and the first year of operation, Ensemble in Process… will eventually launch into an annual series of multiple diverse concerts and other exciting outreach activities.”

Meanwhile, here are soundclips and video examples for the concert programme (where I could find them…):



 






 
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A little under two weeks previously, there’s another Kammer Klang session at Café Oto, presenting an evening of London loft music on the ground floor again. This time, the concert has a particularly strong theatrical tinge, though not necessarily in a conventional manner.

strong>Kammer Klang presents:
Scenatet performs Matt Rogers + David Helbich + Yshani Perinpanayagam performs Benjamin Oliver + Slips DJs
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Tuesday 2nd May 2017, 7.30pm
– information here and here

Kammer Klang, 2nd May 2017The Fresh Klang performance this month is a new keyboard duet by Benjamin Oliver ‘Mr. Turquoise Synth’, which “explores how the contrasting sonorities of the piano (acoustic) and synth (low memory electronics) and modes of production (human/computer agency) can be combined and juxtaposed. Initially the duet partners are isolated but gradually become entwined in a playful and dynamic relationship.” It’ll be performed as a solo by pianist/keyboard player Yshani Perinpanayagam (Del Mar Piano Trio, Rambert Dance Company, and ‘Showstopper! The Improvised Musical’) and features both the venue piano and a bespoke one-bit pulse synthesiser designed by chiptune jazzer Blake Troise (Protodome).

Brussels-based philosopher-composer David Helbich (perhaps best known for his ‘Belgian Solutions‘ project, which spots, photographs and documents various frequently absurd-but-human fixings and methods) goes beyond the territory of being a conceptual musician in order to explore and share along the very faultline which separates musical concepts from non-musical concepts. It’s worth noting that David is the kind of composer who chooses to write for air guitar. Having dispensed with instruments, sound and multi-media trappings, what he’s mostly now interested in is the audience, with whom he will be performing one of his “No Music” sessions,

“No Music is no music, but still a musical experience. No music, still for your ears. Since 2010 I have worked on scores for pieces that could be performed right at the spot, in whatever context, as long as one could freely use both hands and had two functioning ears. The pieces offer notated situations of organised listening and simple ear manipulations. I understand the this material more as a practice than as a series of composition, even though they can appear as such. Pieces appear in printed form as well as in spontaneous performances or entirely set theatrical or concert performances. These interventions are entirely personal and therefore not so much interactive as “inner-active”, self-performative. The reader as the performer as the listener.”

Below is an example from a performance in Brussels.


 

In between, there’s Scenatet – an ensemble working under the remit of “art music theatre in unusual spaces” and generally works with younger Danish composers, creating cross-genre performances involving elements of drama and “happenings” as well as music. Though the ensemble consists of twelve permanent musicians, for this concert, they’ll be down to a trio of Vicky Wright (clarinet), Mina Fred (viola) and My Hellgren (cello) in order to perform the world premiere of Matt Rogers‘ ‘Weep At The Elastic As It Stretches’ The piece is an attempt to “embody the attitudes and spirit” of N.F. Simpson’s 1958 absurdist play ‘A Resounding Tinkle’, which “ask(s) that we rejoice in all manner of unexpected objects, situations and concepts, taking great delight in the most categorical of descriptions and in a complete lack of distinction between the mundane and the exotic.”

This month’s Kammer Klang DJ set is provided by Tom Rose and Laurie Tompkins, the people behind the London/Berlin record label Slip (which specializes in “exploratory work which negotiates the fringes of new instrumental and electronic music” and is heavily involved with site-specific live events from instrumental performances through to club nights).

Programme:

Fresh Klang: Benjamin Oliver – Mr. Turquoise Synth
Matt Rogers – Weep at the Elastic as it Stretches (world premiere)
David Helbich – No Music (a performative rehearsal)
DJs: Slip
 

May 2017 – upcoming English gigs by or with Steve Lawson – Neil Murray masterclass + Steve’s Ley Lines trio in Kidderminster (May 2nd); Steve plays with Robert Logan (plus Surjit Sembi-Harding, Daniel Brooks and Dan Rogerson) in London (May 13th); Steve Lawson/Mike Outram/Emre Ramazanoglu trio in Birmingham (May 14th)

22 Apr

Ever-gregarious solo bassist Steve Lawson (who’s been having a pretty busy spring already, with his earlier Birmingham Bass Night and a couple of new albums ready to go) has put out news of three further upcoming live appearances in England as solo player and collaborator. Collectively, they run the familiar Lawson gamut of jazz, ambient fusion, electronica, work with singer-songwriters… and plenty of talking.

* * * * * * * *

First up is a combined gig, masterclass and interview (with Steve on the interviewer end of the mic…)

Neil Murray masterclass + Ley Lines, 2nd May 2017

“Kidderminster College presents a masterclass with bass legend Neil Murray! Neil’s career is woven into the history of British rock, including his time as bassist for Whitesnake, Black Sabbath, Gary Moore & Brian May. His influential style helped shape the evolution of hard rock from the jazz rock crossover of the 70s in bands like Colosseum II through to Whitesnake’s era-defining ‘1987’ global smash. Neil will talk with Steve Lawson about his career, demonstrate some of the lines that made him one of the most sought-after bassists in the country, and share advice from his life in music.

“The second half of the evening will be a performance by Ley Lines – Steve Lawson, Andy Edwards and Phi Yaan-Zek are the bass/drums/guitar teachers at Kidderminster College, and have released two critically acclaimed albums as a trio. This is their long-awaited live debut outside of the college, and promises to be an enthralling high energy set of improvised music crossing many styles and sounds!”


 
* * * * * * * *

The Waiting, 13th May 2017

Steve continues:

“May 13th at The Waiting, in Hounslow will be a solo gig and a collaboration with synth genius Robert Logan – Robert and I have been talking about collaborating for a long time. I’m a huge fan of his solo work, and am really looking forward to seeing what we come up with!”

For those of you who aren’t immediately familiar with Robert, he’s a pretty outstanding talent in electronic music. Like many in the field, he earns much of his living from drama or documentary soundtracks (the kind after which you squint eagerly at rapidly scrolling credits. keen to catch the name of whoever’s responsible for the arresting background sounds) but he’s also made a backroom wizard’s name for himself via beats and texture work for the likes of Brigitte Fontaine, Morcheeba’s Skye Edwards and in particular Grace Jones’s ‘Hurricane’, as well as collaborations with Steve Roach and Raf & O.

Four albums into a parallel solo career (which began with 2007’s ‘Cognessence’, recorded while he was still a teenager), Robert’s music displays a startling mastery of broad and exciting strands, going from dubstep, techno thud and ocean-pop ambience to twisted beats, atonal arpeggiations and dark ambience via experiments with banjo and pocket trumpet tracks; plus a magisterial atmospheric and heft of intent drawing from reconstructed classical music.


 
As regards the host event, The Waiting is a monthly gig at Maswell Park Church, boasting particularly full evening bills with a Christian slant (if not necessarily in terms of lyrical fervency, at least in terms of the faith and society which drives and shapes the musicians). On the 13th, in addition to Steve and Robert’s contributions, there will be appearances by Surjit Sembi Harding (frontman with Chiswick pop band Under Control, currently leading his own Surj project) and by Daniel Brooks, a onetime Robert Logan production client who divides his own work between quizzical electro-pop (exemplified by the ‘Toys’ track below), grand digital popscapes and electronic atmospheres. Both men are sometime worship leaders, bringing some of those skills to their pop fronting and songwriting voices; and while it’s true that Christian pop can sometimes be a refuge for simpering blandness, neither Surjit nor Daniel subscribe to this, both being several cuts above.



 
Surjit’s Under Control bandmate Daniel Rogerson will also be on hand for a solo guitar set, plus there’s a two-hour open mic session before the gig for anyone who wants to try their luck.

* * * * * * * *

Back to Steve for word on the final May show:

Steve Lawson/Mike Outram/Emre Ramazanoglu, 14th May 2017

“May 14th is a really special gig at Tower Of Song, with two of my favourite collaborators ever. Mike Outram (guitar) and Emre Ramazanoglu (drums) are true geniuses on their instruments – Mike and I recorded ‘Invenzioni’ back in 2010 but never played live. Emre and I met as part of a studio experimentation with Beardyman almost exactly a year ago. We played live in London last September and are really looking forward to playing again, and recording it properly for a live release.”

Here’s a trim of what I wrote last time the trio stepped out:

“Possessed of a boisterously convivial and adventurous set of guitar tones (as well as a spontaneous but eminently accessible creativity), Mike Outram is one of a number of contemporary electric guitarists who define themselves via the act of music rather than the reinforcement of genre. Although jazz enthusiasts will rightly admire him for his work with Nikki Iles, Tim Garland, Theo Travis’s Double Talk and Billy Bottle & The Multiple, Mike learns from and adds to whichever situation or artist he works with outside of jazz, be it soul pop with Carleen Anderson, latterday prog fusion with Steven Wilson or the classical/soundtrack work of composer Laura Rossi…. A committed solo performer since 2000, dedicated to presenting bass guitar as a standalone instrument, Steve has also been an enthusiastic and garrulous collaborator. His conversational fretless bass tones, Kaoss Pad rhythmic experiments and panoramic swathing loopscapes have meshed with a wide variety of partners from pianists, saxophonists, singers and drummers to electric kora players and a range of other amenable solo bassists. His own relaxed attitude to genre has resulted in a musical voice which strolls from place to place, touching on points from smooth-hipped jazz to art-rock, slick pop to noisy improv, dance electronica to ambient-aquatic sound painting, but never being tied down to any of them…. Emre Ramazanoglu, a multi-genre drummer, programmer, writer and producer… generally works (semi-invisibly) behind the scenes in the music industry, at the points where high-level musical chops, cunning production ideas and rapidly-evolving technology mesh with contemporary pop music production and bespoke event soundtracks. In between the demands of catwalk and chart, he fits in more esoteric, less overtly commercial work such as writing and shaping new records for reggae stalwarts Trojan, playing the Adrian Sherwood/remixological role on Martin France’s Spin Marvel jazztronica project, and co-running quirky sound design outfit Rattly’n’Raw.”

And here’s some of what they played on the night:



 
* * * * * * * *

Details on all three gigs below:

  • Neil Murray masterclass + Ley Lines – Worley’s @ The Swan, 56 High St, Stourport-On-Severn, DY13 8BX Tuesday 2nd May 2017, 7.00pm – free event – information
  • Steve Lawson + Surjit Sembi-Harding + Daniel Brooks + Robert Logan (& guests) + Dan Rogerson – The Waiting @ Maswell Park Church, corner of Heath Road and Inwood Road, Hounslow, London, TW3 1XN, England, Saturday 13th May 2017, 7.00pm (open mic from 5.00pm)information
  • Steve Lawson/Mike Outram/Emre Ramazanoglu – Tower of Song, 107 Pershore Road South, Kings Norton, Birmingham B30 3EL, England, Sunday 14th May 2017, 7.00pminformation

 

May 2017 – preview of ‘Composed’ performance-anxiety documentary at the 1901 Club (May 2nd)

14 Apr

Any musician who’s frozen in concert, or thought that they were going to – or anyone who’s interested in the phenomenon – might be interested in this upcoming documentary, previewing in London at the start of May.

'Composed' documentary

“‘Composed‘ invites you into the world of professional classical music, for an exploration of the many causes of and solutions for performance anxiety. This feature documentary brings together dozens of professionals from prestigious orchestras, symphonies, and music schools to discuss their personal journeys, and consider how best to achieve excellence in the face of enormous pressure. Composed finally confirms what so many of us have always secretly wondered – no, it’s not just you who has experienced the physical and mental agonies of performance anxiety, and yes, there are many ways to overcome the symptoms and deliver peak auditions and performances.

Hosted by Frances Wilson (who blogs as ‘The Cross-Eyed Pianist‘) with special guest – ‘Composed’ director John Beder, who will be on site for a meet-and-greet before the film as well as a Q&A directly following the screening.”

Bed Rock Productions/1901 Club presents:
‘Composed’ – special preview screening (followed by Q&A with director John Beder)
1901 Club, 7 Exton Street, Waterloo, London, SE1 8UE, England
Tuesday 2nd May 2017, 6.00pm
information


 

April/June/July 2017 – upcoming classical gigs – William Howard’s ‘Love Music?’ project for piano – London showcase with Judith Weir (26th April); further shows in London (26th June) and Cheltenham (9th July)

13 Apr

William Howard writes “Throughout my professional career I have enjoyed working with composers and commissioning new works. While I was preparing to record my album of romantic love songs for piano, I started wondering what their contemporary equivalents might sound like. I thought many composers might not take to the idea of writing a piano ‘love song’, with its suggestions of a romantic genre, but almost every composer I approached reacted with great enthusiasm. Since love is a theme common to music across the world and across the centuries, I realised that a collection of twenty-first century piano love songs could provide a perfect introduction to the different musical languages of living composers, especially for listeners who come to new music somewhat reluctantly.”

This is the outcome.

Hoxton Hall/Spitalfields Music presents:
William Howard & Judith Weir: ‘Love Music?’
Hoxton Hall, 130 Hoxton Street, Hoxton, London, N1 6SH, England
Wednesday 26th April 2017, 7.30pm
information

William Howard: 'Love Music', 26th April 2017“How do today’s composers write about love? Join pianist William Howard and composer Judith Weir, Master of the Queens Music, to explore a fascinating selection of new piano pieces expressing different aspects of love through different musical styles.

“William Howard will premiere works by Richard Reed Parry (from Arcade Fire), Joby Talbot (once of The Divine Comedy), Robert Saxton, David Knotts and leading Czech composer Pavel Zemek Novák, together with the winning pieces of his recent composing competition that attracted over five hundred entries from fifty-four countries.

“This is an informal evening with contributions from several composers. Questions and feedback from the audience will be welcome.”

Having selected the concert pieces, William’s just commented “they are all very different in character, mood and level of difficulty and offer a fascinating taster menu of different ways in which composers approach writing music of a very personal nature. ‘Camille’ by Joby Talbot is dedicated to his eight-month-old daughter, Robert Saxton’s ‘For Teresa’ is dedicated to his wife. Richard Reed Parry’s ‘Fast Cloud’ is a fantasy of swirling fast notes, Pavel Zemek Novák’s ‘Little Song of Love and Mercy is a spiritual reflection. The two winning pieces of my composing competition are also very contrasted. Chia-Ying Lin‘s ‘Chanson Perpétuelle’ describes “the kind of love which is everlasting and constantly renewed over time” in an imaginative sound world of crystalline textures, while Freddy Viner‘s ‘Herz an Herz’ is an unashamedly romantic piece evoking the spirit of Wagner. The concert will end with Cheryl Frances-Hoad‘s glorious tribute to Dusty Springfield.”

Programme (in no particular order):

David Knotts – Album Leaf
Chia-Ying Lin – Chanson Perpétuelle (winner, Over 25 category)
Pavel Zemek Novák – Little Song Of Love And Mercy
Richard Reed Parry – Fast Cloud
Robert Saxton – For Teresa
Joby Talbot – Camille
Frederick Viner – Herz an Herz (winner, Under 25 category)
Cheryl Frances-Hoad – Love Song For Dusty

It’s a pity that there doesn’t seem to be a chance of hearing the runner-up pieces (Simon Mawhinney’s ‘ Daniel Josiah is Sleeping ‘, Nathan James Dearden’s ‘love holds me captive again’, Samuel Cho Lik Heng’s ‘Arbophillia’ and Daniel Fardon’s ‘Saudade’) but perhaps they’ll surface at some point. Meanwhile, William has a couple of follow-up Love Songs concerts scheduled:

 
The new pieces act as a companion set to the works on William’s 2016 release ‘Sixteen Love Songs’ (on Orchid Classics).


 

April 2017 – upcoming classical etc. gigs in London and Dublin – Workers Union Ensemble + SounDKard @ Nonclassical (12th); Quataurus Rex play works for string quartet-plus (13th); Benjamin Dwyer and Darragh Morgan launch albums (28th, 29th)

5 Apr

Three more imminent classical-plus events in London – plus one in Dublin – featuring various ensemble and solo artists (some of whom also compose) stretching the boundaries of form and texture.

* * * * * * * *

Nonclassical presents:
Nonclassical:Workers Union Ensemble + SoundKarD + DJ Ben Vince
The Victoria, 451 Queensbridge Road, Hackney, London, E8 3AS, England
Wednesday 12th April 2017, 8.00pm
information

Nonclassical, 12th April 2017“Join us in Dalston for performances by Workers Union Ensemble and SounDKarD with DJ sets by Ben Vince. Plus locally sourced craft beers and massive burgers! Includes two world premieres by Paul Whitty and Helen Papaioannou.

Workers Union Ensemble are a talented and exciting New Music ensemble who originally came together in 2008 whilst studying at Guildhall School of Music and Drama. Their line-up is Anna Durance (oboe), Edward Pick (piano), Ellie Steemson (saxophone), Mercedes Carroll (double bass), and Caz Wolfson and Joley Cragg (percussion); all conducted by Ben Oliver.

SounDKarD are Sarah Dacey (soprano), Kate Halsall (piano, keyboards) and Duncan Macleod (electronics, sound design, composing). They have worked together in various guises, including voice and piano, voice and electronics, harpsichord and electronics and as part of Galvanize Ensemble projects Happenstance and Galvanize for Hack the Barbican.

“Both ensembles programme new work alongside existing or flexible repertoire.”

Programme:

– Workers Union Ensemble:

Seán Clancy – Seven Lines of Music Slow Down And Eventually Stop
Jay Capperauld – Dehumanised Shock Absorbers
Laurence Crane – Old Life Was Rubbish
Helen Papaioannou – Backscatter (second premiere)
Nick Morrish Rarity – Junk Space

– SounDKard:

Duncan McLeod – No Man Is An Island
Amber Priestley – Flowers
Kate Halsall (arranger) – Wooden Trees (after John Cage/Laurie Anderson/The Beatles)
Ryoko Akama – Con de Structuring
Iain Chambers – I Became Mermaid
Catherine Lamb – Lineshadow
Paul Whitty – (new work – world premiere)

Helen Papaioannou recently revealed some of the details of her new piece in an interview on the WUE website – “‘Backscatter’ is a sort of mottling of sounds and notes which are bounced, echoed or split between individual players or subgroups. This hangs around short lines and motifs that churn into mechanistic loops, exploring different colours and textures within the ensemble… As in many of my recent works, particularly ‘Splinter’ (2016), the piece is built around hocketing. My fascination with hocketing lies partly in the interpersonal thrill & playfulness of coordinating patterns between two or more people. In recent pieces of mine this interleaves with an exploration of cueing and game strategies.” The full interview is here.

Here are a few preexisting versions of some of the other pieces:



 

 
* * * * * * * *

Quataurus Rex, 13th April 2017

IKLECTIK Art Lab presents:
Quataurus Rex
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Thursady 13th April 2017, 7.30pm
– information here and here

Quataurus Rex are a London-based string quartet of colleagues and friends who formed in London – the members are Amy Heggart and Sophie Cameron (violins), Alison D’Souza (viola) and George Hoult (cello). Individually they have performed throughout the UK in venues such as the Royal Albert Hall and Royal Festival Hall with orchestras and artists including the London Philharmonic Orchestra, BBC Symphony Orchestra, Skepta, Lady Leshurr and Laura Mvula.

“This night will feature a range of works for string quartet, electronics and loop machine crossing genres from contemporary classical to folk and electronic.”

Programme:

George Crumb – Black Angels (excerpt)
Sophie Cameron – Afterimage
Daniel Potter – Premiere
Pavel Fischer – Morava

Here’s a quick taste of the Crumb piece, as performed by the Kronos Quartet:


 
* * * * * * * *

Two concerts at the end of the month reveal and celebrate a pair of releases from the Irish experimental classical label Diatribe Records. The Dublin date features work by both Benjamin Dwyer and Darragh Morgan; the London date features Darragh alone.

  • Benjamin Dwyer/Darragh Morgan – The Complex Dublin, 15 Little Green Street, Dublin, D7, Ireland, Friday 28th April 2017, 8.00pm – information here and here
  • Darragh Morgan – IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England, Saturday 29th April 2017, 8.00 pminformation

Benjamin Dwyer‘s’s music is forged from an intensive amalgamation of technical, improvisatory and interpretative elements. Experienced at the intersection of performance, gesture and compositional praxis, his music is further enriched through its deep immersion in ritual and symbol. His works have been performed worldwide by renowned musicians and ensembles.

Diatribe event, 28th April 2017As a classical guitarist and a major exponent of contemporary music and free jazz, Dwyer performs worldwide and has appeared as soloist with all the Irish orchestras, the Neubrandenburg Philharmonic (Germany), the Santos Symphony Orchestra (Brazil), the VOX21 new-music ensemble, the Callino Quartet (UK) and the Vogler String Quartet (Germany). He is a member of Barry Guy’s Blue Shroud Band and TIN (the UK-based Transdisciplinary Improvisation Network). Chiefly informed by continental philosophy, and post-colonial and feminist theory, Dwyer has also written extensively on music exploring themes such as Irish art music, the intersections of performance and compositional practice, improvisation, the classical guitar, and music as myth and symbol.

Originally premiered in November 2011, Benjamin’s ‘Umbilical’ is a composition for amplified Baroque violin, double-bass, harpsichord and tape, based on the myth of Oedipus but viewed from the perspective of his lover and mother Jocasta. The work was originally staged as a mixed-media event involving audio-visual content and Japanese Butoh dance. This month’s restaging will be performed by the same three live musicians who’ve been associated with it from the start – Barry Guy (double bass), Maya Homburger (Baroque violin) and David Adams (harpsichord).


 

 

Darragh Morgan has emerged as one of Europe’s leading violinists, having achieved international recognition as both soloist and chamber musician. He has frequently appeared at major international festivals in many of the world’s most prestigious halls.

Darragh Morgan: 'For Violin And Electronics'

Darragh Morgan: ‘For Violin And Electronics’

“As a chamber musician, he has collaborated with artists such as Thomas Ades, Emmanuel Pahud, Joanna MacGregor, Nicholas Daniel and John Tilbury. As a highly active and renowned interpreter of contemporary music, he has worked with and premiered the music of many of the most important composers of our time including Arvo Part, John Tavener, Gavin Bryars, Howard Skempton, Michael Nyman, Gerald Barry and Michael Finnissy. He has led Ensemble Modern, London Sinfonietta, Musik Fabrik, Birmingham Contemporary Music Group and was a member of the acclaimed Smith Quartet from 2005-2011. He is currently the violinist in the Fidelio Trio.

“Darragh’s new release on Diatribe, titled ‘For Violin And Electronics’, features works by leading electroacoustic composers Paul Wilson, Jonty Harrison, Ricardo Climent, Jonathan Nangle, Scott Wilson and Simon Emmerson.”


 


 

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