Tag Archives: Charlotte Bray

February 2018 – upcoming classical etc. gigs – Tre Voci, Kit Downes and Southbank Gamelan Players in London (7th February); Psappha’s ‘Caught In Treetops’ concert in Manchester (15th February)

2 Feb

Tre Voci + Kit Downes + Southbank Gamelan Ensemble, 7th February 2018

Tre Voci presents:
‘Auro’ (with Tre Voci + Kit Downes + Southbank Gamelan Players + Nonclassical DJ set)
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Wednesday 7th February 2018, 7.30pm
– information here, here and here

Classical/experimental cello trio Tre Voci (who, back in December, were integrating and sparring with an Iranian hand-drummer and a Norwegian soprano, continue their tradition of cross-pollinating musical events by collaborating with jazz pianist/organist Kit Downes and four players from London-based Indonesian percussion ensemble the Southbank Gamelan Players at a pre-launch event for their upcoming EP ‘Auro’ (released on 25th February).

The gig’s being done in cahoots with Nonclassical, who are releasing the EP, performing (via head honcho Gabriel Prokofiev) a DJ set embracing and challenging western classical traditions, and hosting this interview in which Tre Voci’s Torun Stavseng and Gregor Riddell expound on the EP and on what they’re hoping to achieve with the concert. The interview reveals that not only will there be a extra guest appearance from cellist and singer Laura Moody, but that in an attempt to emphasise “the transcendental qualities of Gamelan music (which) lend (themselves) well to an innovative use of light and space” they’ll attempt to use the Chapel’s architecture to transport the audience into a “kaleidoscopic, illusory realm playing with their sense of space, time, light and sound. We will position the Gamelan players on the main stage whilst Kit will be hidden behind the organ and the cellos symmetrically dispersed in the corners of the chapel, with the aim to create an interplay with the sound reflections against the stone walls.”

The collective piece being performed and premiered here is ‘To Shadow’, composed by Bryn Harrison, which he describes as consisting of “rising lines in which the parts ghost each other… An idea I’ve been working with in this piece and other recent projects has been to increase the levels of repetition as the piece continues to create the feeling of being inside the music. I like to resist change when I working, trying to think into an idea rather than out of or away from it. There’s a different kind of musical development at play, where the act of listening changes rather than from specifically what happens in the music. I’m interested to see how this work with this particular combination of instruments and with the freer elements that Kit brings to the piece.”

Kit’s own recent ‘Obsidian’ album featured him playing various structured improvisations on a variety of church organ, so it looks as if the Chapel’s resident Willis organ will also be taking a jazz hammering. In addition, Kit has written a quartet piece for the ‘Auro’ EP (‘The Cult of John Frum’) which features himself on Hammond organ and will be performed at the concert. Depending on various sources, the concert will also feature fifteenth century music rearranged for cello trio (probably the Josquin des Prez and Johannes Ockeghem pieces featured on ‘Auro’), various group improvisations and a performance of John Cage’s ‘The Wonderful Widow of Eighteen Springs’.





 
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Psappha presents:
‘Caught In Treetops’
St Michael’s Church, 36-38 George Leigh Street, Ancoats, Manchester, M4 5DG, England
Thursday 15th February 2018, 7.30pm
– information here, here and here

Psappha, 15th February 2018Mancunian classical ensemble Psappha are performing a showcase of emerging composers at a mid-month concert in their main Manchester home.

‘Caught In Treetops’ is centred around Charlotte Bray’s piece of the same title, a work for solo violin and ensemble which responds to two contrasting lunar poems (“A Match with the Moon” by Dante Gabriel Rossetti and “The Moon Sails Out” by Federico García Lorca). For this concert, it will features guest appearances by violinist Benedict Holland and conductor Mark Heron. Here’s an earlier performance of the piece by Neue Musik and Wibert Aerts:


 
The concert also showcases a selection of pieces from Psappha’s own emerging composer schemes. Robert Reid Allan‘s ‘The Palace Of Light’ is a sympathetic piano tribute to a notorious Glasgow cottaging location, musically characterised by tinkling water-dripping notes and an apprehensive, fractured romanticism, while Anna Clyne’s ‘Paintbox’ is “an immersive soundscape which combines recorded voice, breathing and other sound loops with a sonorous cello line” exploring “the life-changing effects of the atomic bomb.” James Williamson‘s ‘Fault-Klang’ equates extended clarinet techniques with geologic upheaval; Michael Cryne‘s flute-and-pedal-electronics piece ‘In Cloud Light’ takes its inspiration from the kinetic wind sculptures of American artist Anthony Howe. Will Frampton‘s ‘The Greening Variations’ is a violin/cello/piano trio in which each successive variation refreshes – or “greens” the previous one on an instrument-by-instrument journey “commencing…in an extreme register before narrating its way to a climatic melody accompanied by distinctive trill figures.” Written for mixed-percussion soloist, Lucy Armstrong‘s ‘Space Adventure’ works from a pulp science fiction scenario of hapless human explorers being obliterated by merciless aliens. Inspired by “an experience of being trapped in a place that is usually bustling with life, but is now deserted”, Bethan Morgan-Williams‘s ‘In Kenopsia’ is a unsettling, deceptive duet between a trombonist and a violinist (the first a live performer, the second only a strange mnemonic presence on electronic samples pieced together, warped and reshaped as a phantom accompanist).

Bar the Clyne, all of these pieces are already well-established in the Psappha repertoire, and you can watch and listen to previous performance of them below. In addition, if you turn up with your ticket at 6.40pm before the concert, there’ll be a “Demystifying New Music” talk introducing you to the composers and expanding upon their ideas.







 

November 2017 – upcoming London classical gigs – SOLO presents Eliza McCarthy (7th November); Chamber Sundays at The Rosemary Branch (12th November); Scordatura Women’s Music Collective performs duets by women composers (10th November)

23 Oct

Three of the imminent, interesting classical gigs in London this coming month… some contemporary solo piano in Shoreditch, some disparate contemporary chamber music taking over an Islington theatre, and a celebration of women composers by a female music collective in Stoke Newington…

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Eliza McCarthy, 2017

SOLO presents:
SOLO 04: Eliza McCarthy
Shoreditch Treehouse, 34 Charlotte Road, Shoreditch, London, EC2A 3PB, England
Tuesday 7th November 2017, 7.00pm
information

“SOLO is back and this time we’re heading to a cosy loft right in the heart of Shoreditch for an intimate recital from acclaimed pianist Eliza McCarthy! Eliza specialises in contemporary music and has worked with a whole bunch of composers from John Adams to Tansy Davies and Andrew Hamilton to Mica Levi. Expect a veritable smorgasbord – contemporary pieces by John Adams, John Luther Adams, Mica Levi and more, a side order of J.S. Bach, and the world première of ‘Curved Form (No. 4)’ by Alex Groves.”

Here’s Eliza playing some Levi at Kammer Klang a while back…


 
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At the moment, there’s no more info on which Bach, Levi and Adams(es) pieces Eliza will be playing: but you might like to know that the next in Alex’s sequence of ‘Curved Form’ pieces – ‘Curved Form (No. 5)’ – will be played the following week at the Rosemary Branch’s informal Chamber Sundays evening, curated by mezzo-soprano Rosie Middleton, at which you’ll also hear compositions by Adam Gorb and Jonathan Dove.

Chamber Sundays, 12th November 2017

Chamber Sundays: Rosie Middleton & Friends
The Rosemary Branch Theatre, 2 Shepperton Road, De Beauvoir Town, London, N1 3DT, England
Sunday 12th November 2017, 7.00pm
information

Sorry – I’ve not got much more information on that either, other than what’s above; but here are some sample pieces from Adam, Alex and Jonathan…

 
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Finally…

Scordatura Women’s Music Collective present:
‘Duos and Duels’
The Old Church, Stoke Newington Church Street, Stoke Newington, London, N16 9ES, England
Friday 10th November 2017, 7.30pm
information

Scordatura Women's Music Collective, 10th November 2017Scordatura Women’s Music Collective is a group of musicians who want to extend the established repertoire by performing and championing music written by women. With interests ranging from Baroque Historical Performance to contemporary composition to world music, members of the collective will be performing from a huge, varied and beautiful body of music.

“On this occasion, the group are performing an evening of duos for cello, clarinet and viola composed by some of the most exciting women of the twentieth and twenty-first centuries.”

Programme:

Rebecca Clarke – Prelude, Allegro and Pastorale
Sally Beamish – Duel
Kaija Saariaho – Oi Kuu
Judith Weir – St Agnes
Chen Yi – Happy Tune
Shulamit Ran – Private Game
Charlotte Bray – Midnight Interludes
Libby Larsen – Yellow Jersey
Caroline Shaw – Limestone + Felt
 

Encouraging that this is going on: encouraging, too, that I managed to track down performances of seven of those nine pieces in a further attempt to persuade you to go along.


 

December 2016 – upcoming classical gigs – piano & violin duets from Emre Engin & Jennifer Hughes in London (1st); Psappha soloists play Stylianos Dimou, Reich, Maxwell Davies and more in Manchester (3nd), café gigs for Philharmonia Orchestra members in London (9th, 13th)

29 Nov

Four classical gigs for December…

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Emre Engin & Jennifer Hughes: ‘A Journey to the Musical Plateaus’
1901 Arts Club, 7 Exton Street, Waterloo, London, SE1 8UE, England
Thursday 1st December 2016, 6.30pm
information

With this 1901 Club chamber recital, violinist Emre Engin quietly caps the first phase of an exciting international career (which began with his studies at the Uludag University State Conservatory in Anatolia, Turkey, and has moved through the Royal College of Music in London and the Manhattan School of Music in New York to his current status as in-demand, prize-winning London-based soloist, trio leader and educator). As well as music by Bach, Prokofiev and Paganini, the concert includes the world premiere of Emre’s own first significant composition ‘A piece for violin and piano (in memoriam of an unborn child)’.

Emre is accompanied by another prize-winning musician – pianist Jennifer Hughes. A Park Lane Group Artist and cross-Europe performer specialising in duo accompaniment and piano songs, Jennifer (reknowned for her skill as a supportive musician) also coaches work at the Royal College of Music, Aldeburgh Young Musicians, New Virtuosi Mastercourse and Voksenåsen Summer Academy.


 
Programme:

Johann Sebastian Bach – Solo Sonata No.2 in A minor (incorporating the Fuga by Alfred Schnittke)
Emre Engin – A piece for violin and piano (in memoriam of an unborn child) (world premiere)
Nicolò Paganini – Caprice No.15
Sergei Prokofiev – Violin and Piano Sonata No.2 in D major, Op.94bis

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Psappha, 3rd December 2016

Curated Place/Moving Classics & Psappha present:
Psappha Soloists: ‘Metallics’
St Michael’s Church, 36-38 George Leigh Street, Ancoats, Manchester, M4 5DG, England
Saturday 3rd December 2016, 7.30pm
information

Several of the players from Manchester contemporary classical ensemble Psappha congregate in their hometown for a concert of current music. “Featuring emerging composers alongside established twentieth century greats the programme has been curated to showcase Psappha’s virtuoso musicians in an eclectic mix of music that – along with tape and electronics – explores the sonorities of each individual instrument. The centrepiece of this performance is the world première of Stylianos Dimou‘s ‘Metallics’, in which acoustic sounds undergo electronic transformation resulting in the assembly of sonic twins.”

Programme:

Steve Reich – Cello Counterpoint (for cello and multitrack tape)
Peter Maxwell Davies – Sonatina (for violin & cimbalom)
Helmut Lachenmann – Toccatina (for solo violin)
Jonathan Harvey – Tombeau de Messiaen (for piano and electronics)
Tom Harrold – Speechless Skies (for solo cello)
Nuria Bonet Filella – Pota (for cimbalom and electronics)
Charlotte Bray – Oneiroi (for solo piano)
Stylianos Dimou – Metallics (world première)

Performers:
Benjamin Powell (piano)
Tim Williams (cimbalom)
Benedict Holland (violin)
Jennifer Langridge (cello)

Below is a videoclip of an Psapphas renderings of one of the pieces on the bill, to give you an idea of how the concert will run. As for the Stylianos Dimou piece, here’s a soundclip of an earlier, recently-recorded ensemble piece which probably has little to do with the form and execution of ‘Metallics’ but which does provide a window on his “conception of structure as a fluid and sculpted entity that can be conceived as a byproduct of microscopic manipulation of the timbral and gestural dimensions of music” expressed via “blurred sonorities, harmonic fluidity and gestural formation.”



 

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Philharmonia Orchestra chamber players (photo © Marina Vidor)

Philharmonia Orchestra chamber players (photo © Marina Vidor)

Back down in London, various musicians from the Philharmonia Orchestra are playing a pair of evening/late-night shows at Brasserie Zédel. While the big January show’s already sold out, tickets are still available for a couple of smaller December shows featuring subdivisions of the orchestra.

The first of the two shows offers “a unique opportunity to hear members of the cello section in this late night show in an eclectic mix of music, imbued with virtuosity, soaring melodies and infectious dance rhythms”, featuring pieces by Mozart, Wagner, Nicolò Paganini and Astor Piazzola, as well as the lesser-known but compositionally prolific German cellist-composer Julius Klengel (who produced hundreds of etudes and solo works for the instrument during his late nineteenth/early twentieth-century lifetime). The concert will also feature a newer piece by Philharmonia-affiliated contemporary British composer Richard Birchall – ‘Viral’, a five-minute cello quartet.

In the second show, violinist Emily Davis, viola player Gijs Kramers and cellist Maria Zachariadou will perform Dmitry Sitkovetsky‘s string trio arrangement of Bach’s ‘Goldberg Variations’.

Live At Zédel presents:
Philharmonia Orchestra cello section
Brasserie Zédel, 20 Sherwood Street, Soho, London W1F 7ED, England
Friday 9th December 2016, 10.00pm
information

Live At Zédel presents:
Members of the Philharmonia Orchestra
Brasserie Zédel, 20 Sherwood Street, Soho, London W1F 7ED, England
Tuesday 13th December 2016, 7.00pm
information
 

Upcoming gigs, second week of November 2015 (9th-15th) – Julia Holter’s experimental pop tours the UK; chamber music at the Forge (Ensemble Perpetuo’s galactic tour, CHROMA’s British Music Collection show with Martin Scheuregger & David Gorton premieres); Baba Yaga Hut London rocktronica double (Tropic of Cancer + Shift Work + Telefon Tel Aviv down south, Teeth Of The Sea + Charles Hayward’s Anonymous Bash out east); Olga Stezhko takes her Lucid Dream piano concert to the Wigmore & Bridgewater Halls; Vôdûn rocks out Afro-psych-metal at Westminster Kingsway; Dub Trio/Thumpermonkey mix it up at The Underworld; Haiku Salut/Camden Voices/Emilie Levienaise-Farrouch bring post-folk, soundtrack classical and community chorale to Daylight Music

8 Nov

Since when did November become so generous? There’s plenty to see and hear this coming week, including the continuing Jenny Hval/Briana Marela tour (with Bristol and London dates), Laura Moody following up recent shows in Cardiff and Sheffield with a house concert in Edinburgh on the 12th (email her directly in case tickets are still available) and, in London, the opening dates of the London Jazz Festival and the End Festival. Plus the following:

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With Briana Marela, Jenny Hval and Holly Herndon all touring or playing in Britain this month – and with Joanna Newsom having already sold out her lone British date at the Eventim Apollo on Monday – it’s a good month for seeing art-pop with a distinctly female hue or ethos (although to be honest there’s always a wealth of such things around, if you look hard enough and dip under the radar).

To the above, add  Julia Holter, who’s working a short British tour over the course of the week. It’s an opportunity to see how rapidly Julia’s exploratory, highly literary work has evolved and altered over a decade of recording time: from the Debussy-an glistenings of 2006’s ‘Eating The Stars’ to the oblique sonic and textual puzzles of 2011’s ‘Tragedy’ (mixing transfigured Greek drama, disorientating found sound and transparent barely-there parings of songcraft) and the impressionistic jazz-novel assemblage of ‘Loud City Song’ in 2013 (which drew on Collette, MGM musicals and belle-epoque).

Julia’s newest album, this year’s ‘Have You In My Wilderness’, is something of a step into the known. Her once-baffling minimal musical stylings – which, on ‘Tragedy’ in particular, hung precariously on the edge of what might be described as “song” – have by now transformed themselves into what sounds like dreamy, distracted takes on late-‘60s/early-‘70s Brill Building songwriter pop. That said, the album’s meditations on solitude and companionship (real, imagined, rejected or deconstructed) retain Julia’s distinctive tone of lateral thinking and musing, and if the songs seem more conservative on the outside they soon reveal themselves as different, more fluid creations, if Carole King had been enticed into French surrealism (note the nods to Dali, Bunuel, Germaine Dulac and Gérard de Nerval in the video for ‘The Sea Calls Me Home’, above). It’s also clear that if ‘Have You In My Wilderness’ does invite a broader audience by way of its more comfortable textures, it’s not a sell-out: keeping firmly in touch with her earlier impulses and schemas, Julia has included a re-recording of Betsy On The Roof (a pre-‘Tragedy’ song best known from her rare 2010 live tapes).

Julia Holter:

Note that the Leeds gig at the Brudenell is part of their High & Lonesome Festival in which Julia will be sharing a stage with Josh T. Pearson, Neil Halstead &and many others.

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There are two chamber music concerts coming up at The Forge in London:

Ensemble Perpetuo

Ensemble Perpetuo presents: Heavenly Sights (The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, UK, Monday 9th November 2015, 7.30pm) – £10.00 to £12.00 – information & tickets – more information

Founded in 2013 by English oboist James Turnbull, Ensemble Perpetuo is a dynamic and versatile collective of musicians who perform a wide variety of traditional and contemporary chamber music in new settings; bringing it to new audiences through exciting collaborations and innovative repertoire choices; and seeking new pathways in which to experiment and augment the concert experience through multi-art form collaborations. Perpetuo has embarked on a number of exciting mini-residences throughout the UK and is taking music to new venues including concerts in theatres, museums, cafes, found spaces and other unexpected locations.

Join Perpetuo for the final event in their groundbreaking series of chamber music concerts for 2015 – an evening of incredible music that takes you on a journey to the furthest reaches of the galaxy. ‘Heavenly Sights’ is an evening of music inspired by space, flight and motion. Featuring music from Beethoven and Piazzolla to Weir and Muhly, experience over two hundred years of chamber music in one evening.

Programme:

Robert Schumann – Mondnacht (arr. Colin Matthews)
George Benjamin – Flight
Nico Muhly – Motion
Judith Weir – Airs From Another Planet
Anthony Powers – In Sunlight
Charlotte Bray – Trail Of Light
Astor Piazzolla – Milonga del Angel
Ludwig van Beethoven – Moonlight Sonata
Cheryl Frances-Hoad – My Fleeting Angel

 

CHROMA ensemble

CHROMA: Gorton, Scheuregger and British Music (The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, UK,Wednesday 11th November 2015, 7.30pm) – £10.00-£12.00 – information & tickets – more information

Founded in 1997, the critically acclaimed CHROMA is an acclaimed, London-based, flexible chamber ensemble dedicated both to new music and to revisiting classic repertoire in fresh and exciting contexts; mentoring the next generation of composers, and involving audiences in compelling, inspirational experiences. Closely associated with the performance of contemporary music the ensemble has forged close links with many prominent British composers through many commissioned premières and collaborations (including work with Luke Bedford, Michael Nyman, David Bruce,  Tarik O’Regan,  Michael Zev Gordon, Raymond Yiu, Claudia Molitor, Julian Grant, Arlene Sierra, and Marcus Barcham-Stevens) .

CHROMA has a lively strand of intimate chamber concerts combining music and storytelling, which has resulted both in its first own-label album ‘Folk Tales’ and in various opera stagings in association with the opera festival  Tête à Tête,  the Linbury Studio Theatre and others.  The ensemble’s mentoring programme includes ongoing work with student composers at the Royal Academy of Music, Royal Holloway University of London and Oxford University.

This concert (featuring Roderick Chadwick on piano) is the culmination of composer Martin Scheuregger’s residency at the British Music Collection. Martin’s new work, ‘Harlequin’, and ‘Burgh Castle’ by David Gorton form the centre of the programme. Harlequin engages with and reflects on the themes and ideas Martin has been exploring through the music of The Collection, whilst ‘Burgh Castle’ – a CHROMA aural-visual commission for piano and ensemble – is inspired by the landscape of the East Anglian Fens. Pieces from the BMC – from both lesser-known and established composers – place these new works in the context of Martin’s residency and the music with which he has surrounded himself for the last 18 months.

Programme:

Philip Cashian – Horn Trio
Helen Grime – Snow and Snow
Martin Scheuregger – Harlequin (world premiere)
David Gorton – Burgh Castle (world premiere)
Anthony Powers – In Sunlight
Sadie Harrison – The Bride’s Journey In Three Songs And A Memory

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On the 12th November, Baba Yaga’s Hut are presenting a double event in London: simultaneous gigs in the east and the south, each blending rock and electronica in different ways and at different intensities.

event-20151109-tropicofcancTropic of Cancer + Shift Work + Telefon Tel Aviv (DJ) (Baba Yaga’s Hut @ Corsica Studios, 4-5 Elephant Road, London, SE17 1LB, UK, Thursday 12th November 2015, 8.00pm) – £10.00 – informationtickets

Gauzy, morbid-romantic dream pop project Tropic of Cancer (comprising murmurer and instrumentalist Camella Lobo plus collaborators) return to London for another set of blurred lyrics and slow-burner Gothic psychedelic-tinged tunes. Expect lapping echoes, grey-draped music and a numbed atmosphere with concealed drama: self-confessed romantic and “hyperbolic dramatist” Camella admits that the driving concept behind most of her songs is “a love so supernatural it lasts beyond death, but also a love that is sometimes not strong enough to conquer human weakness in the living.” 

The live Tropic Of Cancer band now includes Joshua Eustis of Telefon Tel Aviv (and also Sons of Magdalene, Puscifer and the Nine Inch Nails tour band) who’ll apparently be playing a DJ set under his TTA moniker.  Further support comes from London dance-electronica minimalists Shift Work.

 

event-20151112-teethoftheseTeeth of the Sea + Anonymous Bash (Baba Yaga’s Hut @ The Brewhouse, London Fields Brewery, 369-370 Helmsley Place, South Hackney, London, E8 3SB, UK, Thursday 12th November 2015, 8.00pm) – £9.00 – informationtickets

At this gig, the increasingly acclaimed Teeth Of The Sea launch their fourth album – the subtly-titled ‘Highly Deadly Black Tarantula’.

The London band’s assured and stormy concoction of spacey psychedelic guitar rock  dramatics, heavily-processed Fourth World trumpet, counter-culture festival techno,  electronica and drone music – plus their assured-to-arrogant stage presence and mastery of performance – has been winning them a wide range of fans from across the board. The clips below should give you an idea of what to expect both on record and onstage.

Support comes from Anonymous Bash, featuring veteran experimental drummer Charles Hayward (of This Heat, Camberwell Now, Massacre and the myriad collaborations of Accidents + Emergencies). Based on the music springing from last year’s four-week Hayward residency at Salford’s Islington Mill (during which Charles collaborated with over twenty musicians from the Manchester regions), the project features a taut, dubby experimental sound centred around the sonic marriage of his own percussion, melodica and vocals with shifting, abrasive rock aspects brought in by his collaborators.  The Salford-based Gnod ensemble (a mixture of  kosmiche and cult-spoofery) played a substantial role in the Anonymous Bash album, and join Charles in the ongoing live lineup.

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Olga Stezhko, 2015Increasingly a ‘Misfit City’ regular, the Belarusian classical pianist Olga Stezhko (whose superb technique is equalled by her audacious, densely intellectual approach to programming her repertoire) chalks up two landmark concerts at two British classical music institutions this week as she makes her debut at both the Wigmore Hall and the Bridgewater Hall. To each venue, Olga is bringing her ‘Lucid Dreams’ programme – a selection of pieces exploring ideas of childhood and children’s music.

Olga comments “this programme is deeply personal to me. It is a conscious attempt to rediscover those things that were central to the development of my musical identity. Inevitably this can appear to be a sort of light musical psychoanalysis, but as I recall my childhood I remember vividly being surrounded by magic, with all its signs and symbols, which greatly affected how I felt towards the world around me at the time. To some extent, I have never lost touch with my younger self thanks to my extensive teaching work with children. Their distinctive personalities are an endless source for artistic inspiration; I wish therefore to dedicate my concert to those boys and girls.

“The narrative of the programme reflects the development of our perception of reality during different stages of life. It moves from the magical realism of a child’s worldview in the first half (Toys & Dances) to the broader metaphysical questions we all face at some point in life in the second part (Images & Visions).”

Olga Stezhko: ‘Lucid Dreams’ piano recital (Kirckman Concert Society @ Wigmore Hall, 36 Wigmore Street, London, W1U 2BP, UK,  Tuesday 10th November 2015, 7:30pm) information & tickets

Programme:

Part One: Toys & Dances

Sergei Prokofiev – Old Grandmother’s Tales Op. 31
Sofia Gubaidulina – Musical Toys
Dmitri Shostakovich – Three Fantastic Dances Op. 5
Claude Debussy – Suite Bergamasque: Menuet
Lev Abeliovich – Tarantella
Aleksandr Skriabin – Deux Danses Op. 73

Part Two: Images & Visions

Claude Debussy – Images, Series 1
Aleksandr Skriabin – Cinq préludes Op. 74
Claude Debussy – Images, Series 2
Aleksandr Skriabin – Vers la flamme, poème Op. 72

Olga Stezhko (The Manchester Mid-day Concerts Society  @ Bridgewater Hall, Lower Mosley Street, Manchester, M2 3WS, UK, Thursday 12th November 2015, 1:10pm) – £7.00-£11.50 – informationtickets

Programme:

Sergei Prokofiev – Old Grandmother’s Tales Op. 31
Sofia Gubaidulina – Musical Toys
Claude Debussy – Images, Series 1
Aleksandr Skriabin – Vers la flamme, poème Op. 72

(Note that the Manchester concert features a much shorter version of the ‘Lucid Dreams’ programme.)

Throughout the programme, Olga explores the further deeper brought up in her music choices, investigating Debussy’s complex psyche and relationship with his daughter, the cognitive differences between children and adults (including the former’s belief, often shared with adult musicians, that they shape the world by thought and action), her own childhood impulses as a pre-teen musician, and the roles of parent figures in successive generations of composers. She also challenges the subordinate role that children’s music seems forced to play, arguing “what is the definition of children’s music anyway? I believe when these works emerge as an innermost urge from a mature master, it epitomizes their most sincere and unpretentious artistic output.

“Such music as Gubaidulina’s Musical Toys (part of my future recording project ‘Toys & Tales’) or, for example, Debussy’s Children’s Corner (to be included into my next all-Debussy album) is as rich with imagery, colour, trepidation, emotion and symbolism as any symphonic masterpiece. Moreover, it is perhaps the most accurate musical description of any composer and their inner worlds. Both performers and listeners can relate to this kind of music precisely because there is something universal about it as we all were children once, authentic and genuine in our relationship with the world.”

Olga’s full thoughts behind ‘Lucid Dreams’ (from which the above notes and quotes are taken) can be found here, and are well worth reading.

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Another couple of London rock gigs show up midweek and at the end of the week. Summaries below:

Vôdûn + support t.b.c. (WestkingMusic Live @ Westminster Kingsway College Theatre, 211 Grays Inn Rd, Kings Cross, London, WC1X 8RA, UK, Thursday 12th November 2015, 6.30pm) – £2.00-£5.00 – information

Emerging out of a cloud of voodoo-scented bombast (in the centre of which you’ll find former Do Me Bad /Chrome Hoof singer Chantal Brown) Afro-psych/doom metal band Vôdûn bring a welcome taste of old-school Black Rock Coalition determination back to the party along with their artfulness. A churning bass-less power trio – multi-racial, two-thirds women, and taking on the names of loa spirits – they set wall-of-noise guitar against galloping drums and full-throated soul-power vocal melisma.

The band make much of West African spirit power, possession and cosmology: but from what initially seems like a stew of schtick brewed from heavy metal and voodoo swagger, various Afrocentric and feminist images bubble up (not least in the assertive vigour of the female players, and in the way they remind us of the passionate feminine component in the rituals and worldview of the original vodun culture). The current Vôdûn single Mino’s Army is a tribute to the fearsome all-female musket regiment which (by the nineteenth century) made up a third of the Dahomeyan army, played a leading role in the nation’s military policy, and honed female ferocity into a powerful fighting force which dismayed and won the admiration of male opponents (including the French, whom the Mino repeatedly mashed in early stages of the colonial wars). The blood-and-fire video pays tribute to this, and to the acres of severed heads which the victorious Mino left behind them, though perhaps not to the fact that the Mino came to strive against slavery in their own nation as well as the slavery fostered by the Europeans.

Inevitably, Vôdûn are going to be inspiring questions and challenges about the African traditions they’re playing with, and perhaps a deeper approach to storytelling doesn’t currently fit the spontaneous and immediate nature of the band as it stands. But in spite of this, and behind the surface theatrics, the signs are promising. One to watch…

Thumpermonkey, 2015

Dub Trio + Thumpermonkey (Nightshift/Rock-A-Rolla @ The Underworld, 174 Camden High Street, Camden Town, London, NW1 0NE, Sunday 15th November 2015,…. ) – price – information – tickets

Later in the week,  Dub Trio return to London, bringing their live dub/rock skills and their interdependent mutually-looping interactions back to the stage of the Underworld. Here’s a long clip of a full, relatively recent show to get you in the mood.

In support are London’s Thumpermonkey (another bunch of ‘Misfit City’ regulars) whose intricately-constructed heavy post-progressive sound is in some ways the antithesis of Dub Trio’s semi-spontaneous instrumental tightrope act. I’d argue that that was the joy of a well-arranged rock gig – in this case, the contrast between two equally deft, clever and complementary bands keeps one’s brain fizzing away happily, and you leave the gig feeling smarter and more alive than you did when you arrived. Certainly Thumpermonkey’s crammed and ingenious musical constructions, topped off with Michael Woodman’s theatrical songlines and multi-layered lyrics, remain one of the current underrated treasures of British rock.

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On the Saturday there’s another Daylight Music – a typically involved crossover gig of post-rock, soundtrack classical and communal musical spirit. Details and promo blurb below…

Haiku Salut, 2015

Daylight Music 206 – Haiku Salut + Camden Voices & Emilie Levienaise-Farrouch (Union Chapel, Compton Terrace, Islington, London, N1 2UN, UK, Saturday 14th November 2015, 12.00pm–2.00pm) – free (£3.50 donation suggested) – information

The wonderful Haiku Salut are best described as an instrumental dream-pop-post-folk-neo-everything trio from the Derbyshire Dales, and their talent for combining joyous folk, intricate electronica and spellbinding neo-classical has seen them compared to everyone from Beirut and múm to Sigur Ros and Aphex Twin. Their second album ‘Etch And Etch Deep’ has received acclaim from ‘Uncut’ (who called it “both warmly familiar and completely, fearlessly new”) and ‘Popmatters’ (“vividly coloured sonic canvas”), while ‘The Line Of Best Fit’ described the opening track and recent single, Bleak And Beautiful (All Things), as “uniquely stunning… isn’t afraid to tear up the rulebook and begin fresh.”

Formed in 2013, Camden Voices is a choir of thirty passionate singers, instrumentalists and teachers, as well as those working outside of the music world. Rehearsing weekly in the heart of Camden Town, they aim for high musical standards whilst keeping a friendly and fun sense of community at our heart. With groove and harmony as their foundation, they develop new approaches to ensemble singing; using new arranging talent, they dust off neglected gems from the worlds of jazz, soul, gospel, and a cappella with a vibrant contemporary twist.

You can also hear the elegant, beautiful music of Emilie Levienaise-Farrouch, an award-winning French pianist/composer currently living in London. Spanning film score, bespoke composition and art installations, her work is connected by both its high quality and evocative, meticulous craft – a common sensibility of elegant, instinctual composition. In 2015, she created a sound-walk for London’s Queen Elizabeth Olympic Park, and her debut album ‘Like Water Through The Sand’ is set for a November release on FatCat’s post-classical imprint 130701.

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If ‘ve got a moment over the next few days, I’ll post up something on the London Jazz Festival and on The End – failing that, more November gig news to follow.

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