Tag Archives: Johannes Brahms

January/February 2019 – upcoming London classical gigs – two premieres – BBC Symphony Orchestra delivers Richard Causton’s ‘Ik zeg: NU’ alongside Brahms and Schumann (23rd January); Peter Eötvös conducts his own ‘Multiversum’ for the Philharmonia alongside Bartók, Stravinsky and Stockhausen (7th February)

20 Jan

Quick news on two classical premieres coming up…

On 23rd January, Richard Causton’s new orchestral piece ‘Ik zeg: NU’ (‘I Say: NOW’) receives its debut performance courtesy of the BBC Symphony Orchestra. It’s in good company; sitting alongside a double bill of Brahms’s Third Symphony and Schumann’s heart-on-sleeve Cello Concerto, conceived to “celebrate the friendship and musical kinship between the two composers”, conducted by Sakari Oramo and with Stephen Isserlis doing the cello honours for the Schumann.

Richard Causton

Richard Causton

But let’s focus on the Causton piece. A pleasantly humble, persistently thoughtful composer, he’s consistently delivered the goods for over twenty years now, coming up with carefully-conceived and intuitively shaped compositions. Rather too many contemporary composers hide behind their lofty concepts and allow the verbal summaries to make up for shortfalls in musical communication or audience connection. This isn’t the case here – Richard specialises not in the kind of pieces which provide concertgoer kudos without any particular joy and enlightenment, but the kind which gently, kindly set the intelligence humming. Regardless of your level of classical cultivation, you tend to leave a performance of a Causton piece feeling cleverer and more enthused than you did when you went in. It’s a rare gift, whether you’re talking about something wielded or something given.

In a recent interview with ‘Final Note’ magazine, Richard sheds some light on the new work, which is inspired by family history and the sudden sense of being set against larger, more confusing/difficult-to-process events, while also drawing comparisons between life and music. “…It’s always slipping through your fingers and if you’re lucky enough you might have some wonderful time, but you can never keep it… Music can do things with time that no other art form can… (it) can have a complex and oblique relationship with clock time; it can intensify or stretch it…. There’s a lot of fast music, which is also quite static; it’s like when you walk past a school playground you can hear so many different games, voices and conversations, and with all that going on it can still seem static – but at the same time playful and too rapid to grasp properly. We can stand back and listen to it as one big landscape. There are other parts of my piece that are extremely slow, but transform gradually over time, which can force us into a very slow place of listening. In the collision of these two kinds of music the ear is pulled in different directions.”

On 7th February, veteran Hungarian composer Peter Eötvös conducts his own new piece ‘Multiversum’ for the Philharmonia Orchestra. Written for orchestra, pipe organ (played by Iveta Apkalna) and – unusually – a Hammond organ to be played by László Fassang (and chosen as an instrument for its timbral ability to “continuously change colours” ), it’s a reiteration of space-age wonder which arrives at a time when awareness of space exploration and research is on the upturn.

Peter Eötvös (photo © Jean-Francois Leclercq)

Peter Eötvös (photo © Jean-Francois Leclercq)

It’s also an exploration of deep-level physics: Peter, who has previous form for experimenting with amplified instrument technology (not least during a lengthy spell as Stockhausen’s engineer, copyist, conductor and general utility man) and for investigating cosmically-slanted compositions, comments that “since Yuri Gagarin´s journey into space in 1961, technological advancements have caused us to marvel at the miracle of the cosmos. Research like Witten´s theory of the eleven dimensions and string theory has astounded us with its speculation on the nature of outer space, and has spurred me on in my compositional fantasy.”

In an interview this month on ‘Bachtrack’, Peter confesses that he’s been fascinated with the idea of creating a giant ambient cosmic sound since he was a teenager, and throws some more light on the conception and arrangement of the piece, including the unusual but carefully-considered positioning of the musicians onstage to provide the right kind of sonic wraparound.

‘Multiversum’ comprises the second half of a performance which also includes Schoenberg’s ‘Accompaniment to an Imaginary Film Scene’, Bartók’s ‘Dance Suite’ and Stravinsky’s ‘Symphony in Three Movements’, all chosen for their rhythmic charge and twitching nervous orchestral energy.

Obviously there are no advance clips for listening to, but here are a couple of previous Causton and Eötvös works for the curious…



 
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Dates:

BBC Symphony Orchestra/Sakari Oramo/Steven Isserlis: ‘Richard Causton, Schumann and Brahms’
Barbican Hall @ Barbican Arts Centre, Silk Street, Barbican, London, EC2Y 8DS, England
Wednesday 23rd January 2019, 7.30pm
– information here

Philharmonia Orchestra/Peter Eötvös/Iveta Apkalna/László Fassang: ‘Bartók, Stravinsky & Eötvös’
Royal Festival Hall, Southbank Centre, Belvedere Road, Waterloo, London, SE1 8XX, England
Thursday 7th February 2019, 7.30pm
– information here

March 2017 – upcoming gigs – selections from the Sheffield Classical Weekend (17th-19th)

6 Mar

There’s plenty going on at the three-day mid-March Sheffield Classical Weekend, with the city permeated with music including many old and new favourites. Among what’s on offer are two different performances of Arvo Pärt’s ‘Fratres’ (one by a wind band, one by a host of strings), two Dreams of China concerts covering formal Chinese classical compositions) and a host of choral shows (the classic monk’s-debauchery of Orff’s ‘Carmina Burana’ via Schubert’s ‘Mirjam’s Siegesgesang’ and Brahms’ ‘Ziguenerlieder’, through to a variety of pops choirs.) Though I’d advise checking out the entire, pleasingly diverse programme, here are my own brief and subjective picks from it, if you’re interested.

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Oliver Coates & cellists: ‘Canticles of the Sky’ – Kelham Island Museum, Alma St, Sheffield, S3 8RY, England, Saturday 18th March 2017, 3:30pm & 5.00pminformation

“A UK premiere featuring star cellist Oliver Coates (Radiohead, ‘Under The Skin’ and ‘There Will Be Blood’). Olly and a host of cellists will surround the Kelham Island audience and lift you skyward with this ethereal and dreamy work from Pulitzer and Grammy-winning composer John Luther Adams. Also featuring extracts from J.S Bach’s Cello Suites.”

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Five Choirs: Sounds From Heaven – St Marie’s Cathedral, Norfolk Row, Sheffield S1 2JB, England, Sunday 19th March 2017, 2:30pminformation

“Perched around the sides of the excellent acoustic space within the Cathedral Church of St Marie, five Sheffield chamber choirs – Abbeydale Singers, Sheffield Chamber Choir, Sterndale Singers, Sheffield Chorale and Viva Voce – will “create a swoonsome heart-lifting soundscape of song.” As well as old and new choral standbys by John Tavener, Arvo Pärt, Felix Mendelssohn and others, the concert will include the premiere of ‘Kraal’ a commission for five simultaneous choirs written by Jenny Jackson (a member of Sheffield’s own contemporary composer collective, Platform 4).”

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More music fostered by Platform 4 will be popping up a few times over the weekend. Flautist Rachel Shirley performs “a selection of colourful and inventive works for flute, piano, blown bottles and saxophone“; there’s an evening date at Yellow Arch Studios with players from Sheffield Music Academy, performing the collective’s own “imaginative cutting-edge compositions”. There’s a “mind-bending” collaboration with Opera On Location in which “stories are turned upside down and endings become beginnings in (a) selection of operatic palindromes, where the music is the same both backwards and forwards… featuring Paul Hindemith’s short opera ‘Hin Und Zurück’ (‘There And Back’), plus new bitesize and puzzling pieces…” Platform 4 also contribute the cello-and-electric keyboard piece ‘Upright Stance’ to be performed alongside Shostakovich’s Cello Concerto at Oliver Coates’ concert with Sheffield Music Hub Senior Schools.

  • Opera On Location with Platform 4 – Upper Chapel, Norfolk Street, Sheffield, S1 2JD, England, Friday 17th March 2017, 8:30pminformation (contains strong and sexually explicit language – recommended for 18+)
  • Rachel Shirley: ‘Hooting & Drinking’ – Channing Hall @ Upper Chapel, Norfolk Street, Sheffield, S1 2JD, Saturday 18th March 2017, 3.30pminformation
  • Oliver Coates & Sheffield Music Hub Senior Schools: ‘From The Heart: Shostakovich’ – City Hall Ballroom @ Sheffield City Hall, Barkers Pool, Sheffield, S1 2JA, England, Sunday 19th March, 12:00pminformation
  • Platform 4 with Sheffield Music Academy – Yellow Arch Studios, 30-36 Burton Road, Neepsend, Sheffield, S3 8BX, England, Sunday 19th March 2017, 6:30pminformation

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On the Friday and the Saturday, there are some thoughtfully programmed Sound Laboratory events centring on the music, ideas and influence of Pierre Boulez. Saturday sees a triple-banked set featuring pianists Beate Toyka and Matthew Odell, violinists Darragh Morgan and Lucy Phillips, clarinettist Sarah Watts and the University of Sheffield New Music Ensemble.

Each of these mini-concerts sets one of Boulez’s first three Piano Sonatas against another piece. ‘The Conflict And The Passion’ pitches ‘Piano Sonata No. 1’ against Beethoven’s Kreutzer Sonata in a study of thwarted passions. ‘Deconstruction & Digitalisation’ presents the classical deconstruction of ‘Piano Sonata No. 2’ and the electro-acoustic contrasts of ‘Anthemes II’. ‘Choice And Chance’ (the only one of the concerts to feature two Boulez compositions) offers ‘Piano Sonata No. 3’ and the clarinet-and-orchestra piece ‘Domaines’, contrasting a piece in which major options are available to the performer and one which is considerably more ordered and regimented.

The series opens on Friday with a special Boulez-inspired concert in which “the avant-garde becomes child’s play… primary school children from across the city explore the curious frontiers of contemporary electronic music and present the results of their musical experimentation.”

Sound Laboratory:

  • ‘Computer Music’ – Firth Hall @ University of Sheffield, Western Bank, Sheffield, S10 2TN, England, Friday 17th March 2017, 1:30pminformation
  • ‘The Conflict & The Passion’ – Upper Chapel, Norfolk Street, Sheffield, S1 2JD, England, Saturday 18th March 1:30pminformation
  • ‘Deconstruction & Digitalisation’ – Upper Chapel, Norfolk Street, Sheffield, S1 2JD, England, Saturday 18th March 3:30pminformation
  • ‘Choice and Chance’ – Upper Chapel, Norfolk Street, Sheffield, S1 2JD, England, Saturday 18th March 5:00pminformation

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Among the Chinese-inspired events is one in which Chinese and European chamber music merge as celebrated guzheng zither soloist Xia Jing teams up with The Fidelio Trio (Darragh Morgan on violin, Adi Tal on cello and Mary Dullea on piano). They’ll be presenting a concert of brand-new musical premieres – Gao Ping’s ‘Feng Zheng’ (‘Kite’), Jeroen Speak’s ‘Silk Dialogues 7’, Dylan Lardelli‘s ‘Shells’, and ‘Time Bends In The Rock’ by Sheffield-based composer Dorothy Ker.

Fidelio Trio & Xia Jing: ‘Global Soundtracks: Silk Dialogues’ – Upper Chapel, Norfolk Street, Sheffield, S1 2JD, England, Friday 17th March 2017, 9:30pminformation

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In addition, there’s a variety of pop-up performances across the three days, featuring abbreviated sets by event headliners plus showings by small instrumental and vocal groups. It’s an open-minded spill moving out from classical forms to embrace folk, alt.chamber and other kinds of music.

One promising set of contributors are Manchester quintet Kabantu, who’ve thankfully dropped their previous name Project Jam Sandwich and who also “throw away the rulebook to bridge countries and cultures, creating an exuberant and joyful soundworld… vocal harmonies from South Africa coalesce with everything from Celtic reels and Brazilian samba to Balkan folk music and beyond.” Featuring violin, guitar, cello, double bass and percussion in addition to voices, they’re playing a pop-up show but also two separate consecutive-but-entirely-different sets at Yellow Arch Studios.

Classical by Night – Kabantu @ Yellow Arch Studios, 30-36 Burton Road, Neepsend, Sheffield, S3 8BX, England, Sunday 19th March 2017, 6.30pm & 9:30pm – information here and here
 

November 2016 – upcoming London classical gigs – Shadwell Opera’s Schoenberg and Turnage one-woman psychodramas (4th, 5th); more contrabass flute from Carla Rees at IKLECTIK (5th); Conway Hall’s London Festival of Bulgarian Culture chamber concerts (6th, 13th)

3 Nov

A quick sprint, and some quicker comments, through some imminent (and not-quite-so-imminent) classical performances about to take place in the Smoke. (One day I’ll get all of this stuff up well in advance. One day…)

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Shadwell Opera's ‘Erwartung/Twice Through The Heart’, 4th & 5th November 2016

Shadwell Opera presents:
‘Erwartung/Twice Through The Heart’
Hackney Showroom, Hackney Downs Studios, Amhurst Terrace, Hackney, London, E8 2BT, England
Friday 4th & Saturday 5th November 2016, 7.30pm
– information here

“A disused mine. You mime.

“The same sentence. The sound gets stuck.

“Life. Life.

Shadwell Opera present a dazzling double-bill of one woman psychodramas: ‘Erwartung’ by Arnold Schoenberg and ‘Twice Through The Heart’ by Mark-Anthony Turnage. Separated in the writing by ninety years, these two monodramas (both to words by female librettists, Marie Pappenheim and Jackie Kay) break apart and reconstitute the mind of an isolated woman in extraordinary stream-of-consciousness narrations.

“Directed by Shadwell Opera’s artistic director Jack Furness and associate director Celine Lowenthal, and conducted by musical director Finnegan Downie Dear, this programme will feature the role debuts of the exciting operatic talents Madeleine Pierard and Kate Howden.”

Here’s a little more information, courtesy of the ‘Planet Hugill‘ classical music blog (which tipped me off to the fact that these were being performed).

“Schoenberg’s ‘Erwartung’ was written in 1909 with a libretto by Marie Pappenheim, but had to wait until 1924 to receive its first performance when Alexander Zemlinsky conducted it in Prague. Schoenberg said of the work ‘In ‘Erwartung’ the aim is to represent in slow motion everything that occurs during a single second of maximum spiritual excitement, stretching it out to half an hour.’

“Mark-Anthony Turnage’s ‘Twice Through The Heart’ was written between 1994 and 1996, and revised subsequently and received its first performance in 1997. The libretto, by Jackie Kay, is based on a 1992 poetry documentary which she had written for the BBC.”

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Contraventions, 5th November 2016

rarescale presents:
‘Contraventions – new music for contrabass flute’ with Carla Rees
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Saturday 5 November 2016 (workshop 4.00pm-7.00pm; concert 8.00pm)
information

“UK-based low flutes player Carla Rees tours a concert of new music for contrabass flute and electronics. The contrabass flute is a rare instrument, most usually found in flute choirs, but in this programme it takes on a new solo persona. It is both impressive in sound and size, and complimented by electronics this concert will be a sonic delight of rarely heard music. The concert will feature premiere performances of several new pieces, including music by Matthew Whiteside, Piers Tattersall, Benjamin Tassie and Michael Oliva.

“Carla is the artistic director of rarescale (an ensemble which exists to promote chamber music repertoire for low flutes), and director of low flutes publishing company Tetractys. She has been working closely with Michael and Matthew along with other composers who are writing new works for the tour.

“From 4.00pm to 7.00pm there will be a workshop for composers to explore writing for the contrabass flute. Composers are invited to bring sketches or new works to try out (scores can also be submitted to Carla in advance), and all their questions about the instrument will be answered during the afternoon. The entry fee for the workshop includes entry to the concert.”

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As part of the fourth London Festival of Bulgarian Culture, the organisers of the Ethical Society and Sunday Concerts at Conway Hall are putting on three chamber music concerts, which they’re calling “a musical journey along the Danube: through Bulgaria and beyond.” Each of these will feature at least one Bulgarian work (alongside other items from the classical repertoire which have at least a glancing connection with the country or the river) and be performed primarily by British-based Bulgarian musicians plus compatriots from abroad and sympathetic colleagues from Britain and elsewhere.

To be honest, if you took the players out of the equation, the Bulgarian connection would be tenuous. Leaving aside the fact that the universality of the Haydn, Schubert, Brahms and Mozart pieces chosen for the programme has almost rendered them a common world possession, the inclusion of works by the Hungarian Dohnányi, the Czechoslovakian Drdla and the intensely Czech Dvořák and Smetana means that the concerts fade into an amorphous Danubian appreciation of late classical and romantic string music, perhaps with some of its attention towards eastern Europe, but with its centre still fixed on Vienna or Prague rather than Sofia. Only two actual Bulgarian composers are having their works performed – lynchpin twentieth-century classicist/folk integrator Pancho Vladigerov (whose conscientious approach and assured pedagogy made him the mentor to most post-war Bulgarian composers) and contemporary British-Bulgarian composer Dobrinka Tabakova (whose 2002 trio ‘Insight’ is being played during the first concert). In other respects, representation of the home side is pretty slim. No Emanuil Manolov, no Alexandra Fol, no Georgi Atanasov or Albena Petrovic-Vratchanska.

Admittedly, these choices are partly down to the instrumentation and tone chosen for the concert – piano and string pieces from duo to quintet; accessible classical-melodicism; the warmer, more positive folk-culture-inspired end of small-state nationalism. Quibbles aside, it’s a good opportunity to hear the Vladigerov pieces (beloved Bulgarian staples which don’t tend to travel much outside the country) and the diverse pedigree of the players contributing to this collective and cooperative effort is encouraging and heartening, as well as impressive. Should be a good set of shows.

London Festival of Bulgarian Culture: Concert 1
Conway Hall, 25 Red Lion Square, Bloomsbury, London, WC1R 4RL, London
Sunday 6th November 2016, 5:30 pm
– information here and here

Programme:

Pre-concert talk by pianist and music commentator Michael Round (at 5.30pm in the Brockway Room)
Franz Joseph Haydn – Piano Trio in G Hob.XV:25 ‘Gypsy’
František Drdla – Souvenir & Serenade in A major
Dobrinka Tabakova – Insight (for string trio)
Fritz Kreisler – La Gitana & Schön Rosmarin (for violin and piano)
Franz Schubert – Quintet in A D667 ‘Trout’ (for string quartet and piano)

Performers:

Julita Fasseva, 2016

Julita Fasseva, 2016

Evgeniy Chevkenov (violin – Professor at Richard Wagner Conservatoire, Vienna)
Devorina Gamalova (viola – Professor at Birmingham Conservatoire)
Alexander Somov (cello – Principal cellist at Strasbourg Philharmonic)
Simon Callaghan (piano – Artistic director of Conway Hall Sunday Concerts)
Julita Fasseva (double bass – member of Royal Flemish Philharmonic)

London Festival of Bulgarian Culture: Concert 2
Conway Hall, 25 Red Lion Square, Bloomsbury, London, WC1R 4RL, London
Sunday 13th November 2016, 6:30 pm
– information here and here

Programme:

Ernö Dohnányi – Serenade for string trio Op.10
Bedřich Smetana – Macbeth and the Witches (for solo piano)
Pancho Vladigerov – Bulgarian Rhapsody ‘Vardar’ Op.16
Johannes Brahms – Piano Quintet in F minor Op.34

Performers:

Ashley Wass, 2016 (photo  © Patrick Allen)

Ashley Wass, 2016 (photo © Patrick Allen)

Pavel Minev (violin- Soloist of Moscow State Philharmonic)
Ivo Stankov (violin – Artistic director of LFBC)
Alexander Zemtsov (viola – Professor at Guildhall School of Music)
Guy Johnston (cello – Winner of ‘BBC Musician of the year’ competition),
Ashley Wass (piano – Laureate at Leeds International Piano Competition)

London Festival of Bulgarian Culture: Concert 3
Conway Hall, 25 Red Lion Square, Bloomsbury, London, WC1R 4RL, London
Sunday 20th November 2016, 6:30 pm
– information here and here

Programme:

Wolfgang Amadeus Mozart – Sonata for Violin and Piano in B flat K454
Pancho Vladigerov – Piano Trio Op.4
Antonín Dvořák – Piano Quintet in A Op.81

Performers:

Ludmil Angelov, 2016

Ludmil Angelov, 2016

Dimitar Burov (violin, Head of Strings at Harrow School, programme supervisor)
Yana Burov (violin, Leader of ‘Inspirity’ String Quartet)
Michael Gieler (viola, Principal at Royal Concertgebouw Orchestra),
Gerard Le Feuvre (cello, Director of Kings Chamber Orchestra)
Ludmil Angelov (piano, Laureate of International Chopin Piano Competition)
 

February 2016 – upcoming gigs – a classical sweep: Britten Sinfonia tour Debussy, Donatoni, Takemitsu, Jolivet and a Daníel Bjarnason premiere; the Hermes Experiment go audio-visual with Bennett, Kate Whitley, Soosan Lolavar, Ed Scolding and Giles Swayne; Busch Piano Trio play Brahms, Schubert and Loevendie; the latest of Susanne Kessel’s ‘250 Piano Pieces For Beethoven’ project brings premieres by Mike Garson, Ivo van Emmerik, Robert HP Platz, Claudio Puntin, Markus Reuter, Klaus Runze, Mateo Soto and Knut Vaage.

11 Feb

Some news on upcoming classical-and-related gigs spanning from Southampton to London to Cambridge to Norwich, and over to Bonn in Germany…

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The Hermes Experiment - 'Sonic Visions' @ The Forge, 16th February 2016

The Hermes Experiment presents: Sonic Visions
The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, England
Tuesday 16th February 2016, 8:00 pm
more information

“Described as “barmy but brilliant” by ‘Classical Music Magazine’ (and winners of both Park Lane Group Young Artists 2015/16 and of Nonclassical’s Battle of the Bands 2014), The Hermes Experiment is an ensemble of four young professional musicians who are passionate about contemporary and experimental music, and thus inspired to create something innovative and unique. Capitalising on their deliberately idiosyncratic combination of instruments, the ensemble regularly commissions new works, as well as creating their own innovative arrangements and venturing into live free improvisation.

The ensemble has established itself on the London contemporary classical scene with regular performances across the city for organisations including Nonclassical, Kammerklang, Listenpony and Bastard Assignments. Other highlights have included being selected to perform at the 2014 UK Young Artists Festival in Leicester, and giving a concert at Aubazine Abbey in France as part of the L’Aura des Arts festival. The Hermes Experiment is also dedicated to the value of contemporary music in education and community contexts, having taken part in the Wigmore Hall Learning’s ‘Chamber Tots’ and ‘For Crying Out Loud’ 2014/15 schemes.

So far, The Hermes Experiment has commissioned new work from thirty-one composers at various stages of their careers (including Giles Swayne, Stevie Wishart and Misha Mullov-Abbado). The ensemble also strives to create a platform for cross-disciplinary collaboration and has recently created a ‘musical exhibition’ with photographer Thurstan Redding.

The Sonic Visions show will explore ways in which aural experiences have been influenced by visual stimuli. The programme is led by new commissions that respond to a visual element, as interpreted by composers Kate Whitley and Soosan Lolavar; plus a new piece devised in collaboration with Giles Swayne based on a graphic score, and the premiere of an animation by Izabela Barszcz based on Ed Scolding‘s ‘Black Sea’. The Hermes Experiment will also be interpreting three other new graphic scores, devised by Deborah Pritchard, Andy Ingamells and Eloise Gynn as part of a competition linked to the event. The programme will be completed by arrangements that explore three very varied composers/songwriters that have been inspired by the world of visual art: Claude Debussy, Richard Rodney Bennett and Don McLean. This concert is supported by the Britten-Pears Foundation and the Hinrichsen Foundation.

Programme:

Kate Whitley – My Hands (setting of a poem by Nadine Tunasi – world premiere)
Soosan Lolavar – Mah Didam (world premiere)
Ed Scolding – Black Sea (with new animation by Izabela Barszcz)
Claude Debussy – Mandoline and Fantoche
Richard Rodney Bennett – Slow Foxtrot (from ‘A History of Thé Dansant’)
Don McLean – Vincent (new arrangement by The Hermes Experiment)
New semi-improvised piece by Giles Swayne & The Hermes Experiment
New graphic scores by Deborah Pritchard, Andy Ingamells and Eloise Gynn

Performers:

Oliver Pashley – clarinet
Anne Denholm – harp
Marianne Schofield – double bass
Héloïse Werner – soprano/co-director

Supported by
Hanna Grzekiewicz – co-director/marketing/development

Kate Whitley and Soosan Lolavar have both provided blog entries discussing the genesis of their Sonic Visions pieces (based on a poem setting and on an exploration of the links between Iranian music and Renaissance Counterpoint, respectively). The graphic score for Deborah Pritchard’s piece (which is apparently called ‘Kandinsky Studies’) showed up on Twitter recently, so I’ve reproduced it below:

Deborah Pritchard:  score for 'Kandinsky Studies', 2016

Deborah Pritchard: score for ‘Kandinsky Studies’, 2016

Also below are a couple of videos – one of the Hermes Experiment in the flow of free improvisation, the other of them performing William Cole’s ‘me faytz trobar’.



 
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The Britten Sinfonia return for the second of this year’s (and the third overall) ‘At Lunch’ concert series of mid-day performances across the east of England, this time managing to stretch as far as the south coast.

Britten Sinfonia presents ‘At Lunch Three’

Daníel Bjarnason (photo by Samantha West)

Daníel Bjarnason (photo by Samantha West)

Programme:

Claude Debussy – Syrinx
Franco Donatoni – Small II
Daníel Bjarnason – new work (world premiere tour)
Franco Donatoni – Marches
Claude Debussy – Sonata for flute, viola and harp (L137)

amended setlist for Southampton adds:

André Jolivet – Petite Suite
Toru Takemitsu – And Then I Knew ‘Twas Wind

Performers:

Emer McDonough (flute)
Clare Finnimore (viola)
Lucy Wakeford (harp)

“The combination of flute, viola and harp may not be the most familiar trio ensemble, but it is one that certainly lends itself to the rich exploration of colour and harmonies that is typical of Debussy’s output. A deeply expressive curiosity in soundscapes and association with visual art also features in the compositions of Icelandic composer Daníel Bjarnason, whose new work features alongside that of Debussy in this programme.”

The London and Cambridge gigs include an “in conversation” event (a pre-concert discussion on Daníel Bjarnason’s new work) before the concert at 12.15pm in London, or after the concert at 2.15pm in Cambridge. Tickets are free but must be booked in advance in London, and are only available to concert ticket holders in Cambridge.

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Back in Norwich, there’s a promising trio concert…

Busch Trio, 2016

(Norfolk & Norwich Chamber Music Festival presents:
The Busch Trio
John Innes Centre, Norwich Research Park, Colney Lane, Norwich, NR4 7UH, England
Saturday 20th February 2016, 7.30pm
more information

“Named after the legendary violinist Adolf Busch and inspired by trio member Mathieu van Bellen’s possession of Busch’s 1783 J.B. Guadagnini violin, the London-based Busch Trio – previously The Busch Ensemble – are emerging as one of the leading young piano trios among the new generation, receiving enthusiastic responses from audiences and critics across the UK and Europe. Recognised for their achievements and the “incredible verve” of their playing, they were winners of the 2012 Royal Overseas League Competition and went on to win several prizes including 2nd prize and the recording prize at the 2012 Salieri-Zinetti International Chamber Music Competition and the 3rd prize at the 2013 Pinerolo International Chamber Music Competition in Italy as well as the 2nd prize at the International Schumann Chamber Music Award in Frankfurt.

Since its formation in 2012 highlights of the Trio’s performances in the UK have included the Edinburgh Festival Fringe, Queen Elizabeth Hall, the Sage Gateshead and a critically acclaimed appearance at Wigmore Hall. They have also given concerts in the Netherlands, France, Germany, Switzerland, Italy and Denmark. The trio enjoys the support of the Tunnell Trust, the Kirckman Concert Society, the Park Lane Group and the Cavatina Chamber Music Trust, as well as being awarded the MMSF Philharmonia Orchestra Ensemble Award. Most recently they have completed the prestigious ChamberStudio Mentorship Programme, which has offered them teaching from some of the world’s leading musicians. They are currently receiving guidance from members of the Artemis Quartet at the Queen Elizabeth Music Chapel in Brussels.”

This concert includes a pre-concert discussion with the trio members at 6.30pm. In addition to two familiar Romantic-era classics, the programme includes a performance of ‘Ackermusik’ by jazz/Eastern-cultures-inspired Dutch composer Theo Loevendie (which Loevendie notes is “written in a mosaic form of five repetitive elements” and which possibly, though not explicitly, pays tribute to the low, breathy vibrato clarinet stylings of late British trad-jazzer Acker Bilk).

Programme:

Theo Loevendie – Ackermusik
Johannes Brahms – Piano Trio No. 2 in C major Op. 87
Franz Schubert – Piano Trio No 2 in E flat D929

Performers:

Omri Epstein – piano
Mathieu van Bellen – violin
Ori Epstein – cello

Here’s a recent recording of the Busch Trio performing the third (Poc adagio) movement of Dvorak’s Piano Trio in F minor, op.65, as well as a previous performance of ‘Ackermusic’ by the Van Baerle Trio.


 

 

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Finally, news on an ongoing concert and commissioning series…

Susanne Kessel - 250 Pieces For Beethoven

Bonner Kunstverein presents:
Susanne Kessel: ‘250 Piano Pieces for Beethoven’
Klavierhaus Klavins, Auguststrasse 26–28, 53229 Bonn, Germany
Thursday 25th February, 2016, 7.30pm
more information.

“In the year 2020, the world will celebrate the 250th birthday of Ludwig van Beethoven, who was born in Bonn. In partnership with German radio station WDR Köln, pianist and Bonn native Susanne Kessel has begun an international composition project, inviting composers from all over the world to write a short piano piece “for Beethoven” with a duration of four minutes or under.

Since the start of the project, Susanne has been performing all the pieces at a series of concerts in Bonn (with some pieces also being presented at Speicher am Kaufhauskanal in Hamburg). All pieces will subsequently be published in a “precious paper” sheet-music edition by Editions Musica Ferrum of London.”

As of February 5th of this year, Susanne has received fifty-seven of the planned two hundred and fifty pieces. The next of the concerts in the performance series takes place on February 25th, in the Bonn instrument store Klavierhaus Klavins, and will feature premieres of work by the following composers:

  • Ivo van Emmerik – Dutch composer and onetime student of, among others, John Cage, Brian Ferneyhough and Morton Feldman (regarding whom he’s sometimes been suggested as a successor) with a strong interest in multi-media musical staging, electronic music and computer applications.
  • Mike Garson – cross-disciplinary American jazz, rock and experimental pianist and arranger (best known for his mid-‘70s work with David Bowie).
  • Robert HP Platz – German composer and founder/conductor of Ensemble Köln, generally better known for large-scale projects which can include operatic works, children’s music, literature, poetry, audio tapes and visual arts.
  • Claudio Puntin – Swiss composer, clarinettist and loop musician best known for wild, beautiful and moody electronica and post-jazz as a member of ensembles including ambiq and Sepiasonic as well as work for film, television and theatre.
  • Markus Reuter – German cross-disciplinary composer, touch guitarist, teacher and instrument designer, known for his work with centrozoon, Stick Men and others (as well as for his recent full-scale orchestral piece ‘Todmorden 513’).
  • Klaus Runze – German “intermedia” artist, composer, educator and theorist (pursuing, amongst other things, structured improvisation, composition, sonic sculpture, and painting-while-performing)
  • Mateo Soto – award-winning Spanish composer and recent winner of YouTube CODE 2016 Series Call for Scores.
  • Knut Vaage – Norwegian composer and member of the ensembles JKL and Fat Battery, whose work explores the boundaries between composition and improvisations.

Five of the composers (van Emmerik, Platz, Puntin, Reuter and Vaage) will be attending and possibly speaking, as will German percussionist/composer/music professor Dennis Kuhn and Swiss composer-pianist Lars Werdenberg (founder of New Music platform Chaotic Moebius), both of whom have previously contributed pieces to the project.

News on the ongoing project can be followed here.

* * * * * * * *

More gig news shortly, including William D. Drake in Italy and Louis Barrabas on the rampage across Scotland and northern England.

January 2016 – upcoming gigs – Fortuna Pop Winter Sprinter and Repeater alt/indie/noisepop mini-festivals (and Hannah Marshall/Korbik Lucas playing a LUME slot) in London; Britten Sinfonia At Lunch across the east of England (with an Anna Clyne premiere); David Cohen and friends play magical-journey chamber music by Michael Nyman, Schubert and Gavin Higgins in Norwich

3 Jan

Happy New Year everyone. While I sort myself out, put the review of 2015 together and decide which approaches to take with ‘Misfit City’ this year, here’s what I know about so far in terms of January shows. A couple of mini-festivals of indie pop/garage rock/punk/noise rock and indie folk in London; a lunchtime mini-tour of chamber music in London and the east of England; an afternoon of free improvisation in a Kentish Town record shop; plus one more interesting classical concert in unusual surroundings up in Norwich.

* * * * * * * *

Several of the characters who showed up for the Arrivée/Départ II festival last month are also showing up for this next one: it’s a similar aesthetic, and involves many of the same musical and professional friendships.

Fortuna Pop Winter Sprinter, January 2016

The 6th Annual Fortuna POP! Winter Sprinter (2016) (The Lexington, 96-98 Pentonville Road, Islington, London, N1 9JB, England, Tuesday 5th to Friday 8th January 2016, various times) – £10.45 (or £32.70 for four-day pass) – informationtickets

It’s happening again… The 6th Annual Fortuna POP! Winter Sprinter 2016 is Go! Four nights, twelve bands, DJs… the perfect antidote to the post-Christmas blues with the creme de la creme of the Fortuna POP! roster – including former members of Broken Family Band and The Loves – plus special guests.

Tuesday 5th January – Steven James Adams + Simon Love + The Leaf Library plus DJ Paul Wright (The Track & Field Organisation).



Wednesday 6th January – Tigercats + Flowers + Chorusgirl plus DJ Paul Richards (Scared To Dance).



Thursday 7th January – Withered Hand (full band) + Evans The Death + Pete Astor, plus DJ Darren Hayman.



Friday 8th January – Martha + Milky Wimpshake + Bleurgh (a Blur covers band featuring members of Allo Darlin’‎, Fever Dream, Night Flowers and Tigercats) plus DJs Sandy Gill & Karren Gill (Stolen Wine Social Club Night).


* * * * * * * *

Overlapping the Winter Sprinter is something a little noisier, over in Shacklewell…

Repeater Festival, January 2016

Repeater Festival (Bad Vibrations @ The Shacklewell Arms, 71 Shacklewell Lane, Shacklewell, London, E8 2EB, England,
Thursday 7th to Saturday 9th January 2016, various times)
– free entry – information

To break in the new year, Bad Vibrations will be putting on a 3-day residency of free-entry gigs at The Shacklewell Arms featuring a selection of garage, noise-rock and indie-folk bands. People playing include Taman Shud, The Wharves, Strange Cages, Virgin Kids, The Eskimo Chain, Honey Moon, Lucifer’s Sun, Night Shades and St. Serf. The usual strip of soundclips and video is below.








 

* * * * * * * *

A recent trip to Norwich (still a prime ‘Misfit City’ stomping ground, partly thanks to all of those hometown Burning Shed concerts in the past decade or so) brought me into touch with the next set of gigs. The classical ensemble Britten Sinfonia has close links with the east of England and is honouring that with its At Lunch mini-tours, which swing in a loose arc between Norwich, Cambridge and London, bringing sturdy classical repertoire plus new premieres with them. Here’s information on the second of these tours (sorry, I missed the first one) which takes place mid-month:

Anna Clyne (photo by Javier Oddo)

Anna Clyne (photo by Javier Oddo)


Britten Sinfonia presents ‘At Lunch Two’

  • St Andrew’s Hall @ The Halls, St Andrews Plan, Norwich, Norfolk, NR3 1AU, England, Friday 15th January 2016 – £3.00 to £9.00 plus booking fee – tickets
  • West Road Concert Hall, 11 West Road, Cambridge, CB3 9DP, England, Tuesday 19th January 2016, 1.00pm – £3.00 to £9.00 – information & tickets
  • Wigmore Hall, 36 Wigmore Street, Marylebone, London, W1U 2BP, England, Wednesday 20th January 2016, 1.00pm – £11.00 to £13.00 – information & tickets

Programme:

Johann Sebastian Bach – Gott versorget alles Leben (from Cantata BWV187)
Domenico Scarlatti (arr. Salvatore Sciarrino) – Due arie notturne dal campo
Arvo Pärt – Fratres (for string quartet)
Johann Sebastian Bach – Seufzer, Tranen, Kummer, Not (from Cantata BWV21)
György Ligeti – Continuum
Anna Clyne – This Lunar Beauty (world premiere tour)
Johann Sebastian Bach – Tief gebückt und voller Reue (from Cantata BWV199)

Performers:

Julia Doyle (soprano)
Maggie Cole (harpsichord)
Jacqueline Shave, Miranda Dale (violins)
Clare Finnimore (viola)
Caroline Dearnley (cello)
Marios Argiros (oboe)

A pre-occupation with texture permeates this programme, beginning with two arias from the grand master of counterpoint, J. S. Bach. Ligeti’s ‘Continuum’ tests not only the limits of the soloist but also the exhilarating knife-edge between hearing individual notes and continuous sound. A world premiere from Grammy-nominated composer of acoustic and electro-acoustic music, Anna Clyne, whose music seeks to explore resonant soundscapes and propelling textures, completes the journey from the baroque to present day.

* * * * * * * *

LUME, whose London jazz and free improvisation events I tracked during 2015, are continuing to expand their efforts. While they seem to have found themselves a more regular slot at the Vortex, early 2016 shows are taking place at assorted venues around the capital – galleries, shops, any suitable space. The first of these is in a heavy-duty experimental record shop in Kentish Town, which – although it’s only a short walk or bus hop away from the ‘Misfit City’ flat – I’ve not noticed up until now. I should visit it and go through my usual masochistic experience of being intimidated by serried racks of music made by people I’ve not heard of before; or perhaps I should just go to this show.

Hannah Marshall + Kordik Lucas (LUME @ Electric Knife Records, 16b Fortess Road, Kentish Town, London, NW5 2EU, England, Saturday 16th January 2016, 1.30pm) – pay-what-you-like, £5.00 minimum

The first LUME gig of the year features a solo set from improvising cellist Hannah Marshall (whose collaborators have included Veryan Weston, Evan Parker, Lauren Kinsalle, Alex Ward and former Henry Cow members Tim Hodgkinson and Fred Frith), followed by a performance by the improvising duo Kordik Lucas duo (Slovakian analogue synth player Daniel Kordik and trombonist Edward Lucas, who also run the Earshots concert series and record label). This will be an in-store show so space is limited. There’s not much more information available on the evening at present, so keep an eye on the LUME and Electric Knife sites for updates (if anything new shows up, I’ll add it in here…)


* * * * * * * *

David Cohen (photo by Daniel Herendi)

David Cohen (photo by Daniel Herendi)

Finally, back to Norwich to drop in on a classical chamber music series assembled by acclaimed Belgian cellist David Cohen and assorted friends. Usually when I cover classical or modern classical concerts it’s because they feature premieres of new pieces or intriguing new interpretations and juxtapositions. While this one does feature a premiere (Gavin Higgins’ ‘Howl’) as well as a recent Michael Nyman string quartet from 2011, in this case I was intrigued by the venue – the John Innes Centre, a long-established plant and microbial research centre which lends its lecture theatre for these concerts. If you’re of an intellectual, associative and site-specific mindset, you can listen to the structures in the music unfold while simultaneously considering that you’re surrounded by the echoes of people thinking about – and unravelling the shape of – vegetable genomes.

Cello Con Brio ‘Magical Journeys’ (Norfolk & Norwich Chamber Music @ John Innes Centre, Norwich Research Park, Colney Lane, Norwich, NR4 7UH, England, Sunday 17th January 2016, 7.30pm) – £1.50 to £25.50 – informationtickets

Programme:

Michael Nyman – String Quartet No. 5 (‘Let’s not make a song and dance out of this’)
Gavin Higgins – Howl (for solo cello & string quartet) – world premiere
Franz Schubert – String Quintet in C

Performers:

David Cohen (cello)
Henri Sigfridsson (piano)
Corinne Chapelle (violin)
The Smith Quartet (strings)

Music performed by the ensemble on the other two days of the residency (15th and 16th January) includes chamber works by Brahms, Arensky, Schnittke, Beethoven and Paganini – the full listing is here.

* * * * * * * *

More gig news next time, including shows by Laura Cannell, Ichi and Tom Slatter.
 

December 2015 – upcoming gigs, London & elsewhere – the return of Mark Mulholland and Craig Ward in a Scottish village hall; Serafina Steer & Bas Jan at Kings Place; Olga Stezhko in a Staffordshire chapel; and assorted Others cabaret from punk to accordiana with The Bohemianauts and Bad Fractals

6 Dec

The end of the month, and the year, is nigh – so what are we looking forward to this week?

Mulholland, Ward, Sissoko & D'Hoine @ Ford Village Hall, 8th December 2015

Mark Mulholland, Craig Ward, Yacouba Sissoko & Hannes D’Hoine (Ford Village Hall, Ford, Argyll, Scotland, Tuesday 8th December 2015, 7.30pm) – £5.00 minimum – information – tickets on the door

Back in 2012, two wandering Scottish singer-songwriter-guitarists – Mark Mulholland (ex-Two Dollar Bash) and onetime dEUS member Craig Ward – quietly released one of the finest records of the year. A compelling murmur of acoustic guitar folk, ‘Waiting for the Storm’ was soaked in the Scottish and British folk-baroque of Davey Graham, Pentangle and John Martyn but, in its settings of moist heat, tin roofs, typhoons and dark forces, it was also informed by the Haitian setting of Port-au-Prince, Mark’s home for the previous two years. Some of you may remember that I liked it.

With Mark now relocated to Mali and Craig settled in the little Argyll village of Ford, the duo are collaborating on a follow-up (provisionally called ‘The Darkness Between the Leaves’) on which they’ll be joined by Flemish double bass player Hannes D’Hoine – who played the Danny Thompson anchor-cable role on ‘Waiting for the Storm’ – and by Mark’s newest collaborator, the Malian djely and multi-instrumentalist Yacouba Sissoko, a master kora and ngoni player. The quartet have been preparing and recording in a number of different countries, and the end of the Scottish sessions will be marked by a Ford performance both taking place in and raising funds for Ford Village Hall, with prices set on a pay-what-you-like basis starting from five pounds.

In its quiet way this should be one of the gigs of the year, so if you’re in western Scotland and have a free Tuesday evening, consider heading over to Ford (at the south-western end of Loch Awe, north-west of Glasgow, with the nearest substantial town being Kilmartin.) If you miss this one, they’re playing again in Glasgow at 7.00pm on Wednesday 9th; a low-key gig at the Hidden Lane Gallery in Finnieston.

* * * * * * * *

After that – for me – the week doesn’t pick up until a very busy Friday and weekend. Too subjective, probably. Here we go, anyway.

Serafina Steer & Bas Jan (Hall Two @ (Kings Place, 90 York Way, Kings Cross, London, N1 9AG, England, Friday 11th December 2015, 8.00pm) – £9.50-£12.50 – information & tickets

The hitherto independent worlds of contemporary harp music and experimental kraut-pop will collide – or at least bump each other – in this concert of two halves by harpist/songwriter Serafina Steer and her new band Bas Jan.

After a few years of mainly only using the harp for her own writings, Serafina went on a roadtrip around Eastern Europe busking, discovering and rediscovering pieces along the way. The result of this experience will form the first half of the programme, which will feature compositions by Richard Barratt (‘tendril’), Benjamin Britten (‘Suite for Harp’), Stephen Dodgson (‘Fantasy’), Rhodri Davies (‘Aqcua Alta’) and Serafina’s own father Michael Maxwell Steer (‘Grovelly Wood’)

The second half of the show will be a performance by Bas Jan, Serafina’s latest collaborative project in which she plays bass guitar and keyboards and writes minimally arranged songs about the Essex coast, the Anglo-Saxons, sex, part-time work and love; with sound artist Sarah Anderson playing violin and OP1 mini-synthesizer and performance visual artist Jenny Moore playing drums (all three women also sing). Bas Jan’s first gig was to six thousand people at Brixton Academy and since then they have gone on – via support slots for Xylouris White and The Decemberists – to entertain smaller and smaller audiences.


On the same night, one of ‘Misfit City’s favourite classical musicians is spreading her own particular musical gospel up in Staffordshire:

Olga Stezhko (Abbotsholme Arts Society @ Abbotsholme School Chapel, Rocester, Uttoxeter, Staffordshire, ST14 5BS, England, Friday 11th December 2015, 8.00pm)information – limited number of tickets available, phone 01543 263 304 for details

Olga Stezhko, 2015Following up her recent debut performances at both the Wigmore and Bridgewater Halls (at which she performed full or partial versions of her ‘Lucid Dreams‘ assemblage, a programme of music exploring people’s changing perception of reality from childhood through to adulthood), classical pianist and multi-disciplinary thinker Olga Stezhko is bringing her sophisticated, metaphysical perspective and repertoire to the audience at Abbotsholme.

On this occasion, her choice of music is a little more conventional (leaning on well-established favourites by Mozart, Bach and Prokofiev rather then stretching to the Sophia Gubaidulina pieces she was playing last month). However, there’s still room in the programme for work by one of her compositional touchstones, Alexandr Scriabin; and you can be assured that whichever pieces Olga plays will have been carefully thought out and put into context as part of a programme intended to inspire thought and broader conceptual connections as well as straightforward musical enjoyment.

Programme:

Wolfgang Amadeus Mozart – Sonata in B flat major, K.570
Johannes Brahms – Six Pieces, Op.118
Alexandr Scriabin – Two Dances Op.73; Five Preludes Op.74; Vers la flamme Op.72,
John Adams – China Gates
Sergei Prokofiev – Sonata no.4 in C minor, Op.29

* * * * * * * *

Back in London, meanwhile, there’s cabaret afoot, plus breathless press releases.

Bad Fractals vs Bohemianauts @ The Others, 11th December 2015

The Bohemianauts + Bad Fractals (Bohemiocracy @ The Others, 6-8 Manor Road, Stoke Newington, London, N16 5SA, England, Friday 11th December 2015, 8.00pm) – £8.00-£10.00 –  information & tickets here and here

An epic face-off between two amazing, unique and bizarre bands.

Bad Fractals are shaman gangsters shooting bullets of love, tearing their way through acid punk, malevolent music hall and trailer-trash blues in a world gone mad. Join us at the crossroads, in a theatre of the absurd: hear story and song shift with the wild wonder of fractals! Watch psychedelic punks get drunk with clown kings! Glare at artificial angels dancing with deadbeat demons! Gasp as astral travellers gather in galactic taverns!

The Bohemianauts are decadent divas of demi-monde carnivalism, playing weird waltzes, pithy polkas and rollicking rhumbas: they will take you on a theatrical musical journey through strange landscapes with absurd humour, exquisite noise and songs of unrequited dread. Tonight they will unleash their female alter-egos, as they parade in their geezer-bird finery, performing for your pleasure as the rarely-seen Bohemianauts – Drag-ed on Stage. (Trigger warning: Bearded Drag.)

PLUS – Visuals and projections from Jaime Rory Lucy‘s Rucksack Cinema and half-time performance interventions from Oleg the Mystic.

* * * * * * * *

More shortly…

May 2015 – End-of-May gigs (mostly London) – Bank Holiday weekenders from Daylight Music and SmileAcoustic; a mixed-classical benefit for Nepal; Knifeworld again; fun and frolics underneath the arches with John Ellis and co.

22 May

Just because I’m likely to be stuck indoors for the next fortnight doesn’t mean that you have to be. Some interesting gigs are coming up in – mostly in London, I’m afraid – but just in case any of you are London-based, here are some ideas to see you through until June.

First of all, there are two free Daylight Music events over the weekend. Running eclectic free gigs that span from cosy to experimental, and from classical to folk to noise-pop, Daylight Music have been a Misfit City favourite for a long time. See here for reviews of previous events in September and October 2013 and in January 2014; and see below for details on the upcoming concerts…

Join us for a weekend of music with artist travelling from Los Angeles, Wales and Spain to dazzle you. And while you’re reading this, have a listen to a special mix by Ex-Easter Island Head.

Daylight Music 190: Winter Villains + Poppy Ackroyd + Jon DeRosa (Union Chapel – Saturday 23rd May, midday to 2pm)

The new Spring Season kicks off with a name to watch; Poppy Ackroyd is a classically trained pianist and violinist who weaves delicate, atmosphere music by manipulating and multi-tracking sounds from just those two instruments. On the same week, you can hear Cardiff’s Winter Villains and their intricate chamber pop music (the duo were nominated for the Welsh Music Prize in 2013) and Jon DeRosa from the USA, whose new album ‘Black Halo’ is out via Rocket Girl on 25 May. Hannah Lawrence plays some usual and some unusual melodies on the Henry Willis organ in between this week. Full details here.

Colleen with Ex-Easter Island Head (LSO St Luke’s – Sunday 24th May 7.30pm)

A double bill of musicians renowned for manipulating your expectations as much as they do their instruments; creating hypnotic minimalist music from simple arrays of strings, percussion and even just vocals. Colleen mixes acoustic instruments with electronic sampling techniques to create rhythmic, lyrical folk-pop songs. Her new album Captain of None will focus on a melodic repertoire, with fast-paced tracks rooted by prominent bass lines and her instruments of choice, the treble viola da gamba and her voice. Liverpool-based Ex-Easter Island Head turn the electric guitar on its head, to compose physical, droning soundscapes.

Next up, on Bank Holiday Monday there’s an afternoon-and-evening free concert in Bethnal Green, promoted by unplugged specialists Smile Acoustic (who are new to me, but seem very welcoming). Far too many different acts to summarize quickly – although I do recognise Matt Finucane, who first came to my attention doing anti-pop with Empty Vessels years ago and who’s now matured (though he probably wouldn’t use the word) into a sinister songwriter and a horror/science fiction writer. Read on…

SmileAcoustic: Tasting Menu Bank Holiday Special (Rich Mix – Monday 25th May, 4pm onwards)

Smile Acoustic has been making many friends, and all our friends seem to make great music… so we thought it high time for a get together. An extra long weekend requires extra entertainment after all! So we present a feast of flavours, in our first ever Tasting Menu. Full information here.

4pm – Prash Gor, Kirsten McClure, Lauren Lucille, Matt Finucane, Dave Santos, Gian Luca, Mark Harrison, Jeremy of The Green Rock River Band, Horatio James

7pm – Bellatrix, Camilo Menjura, Arthur Lea

Yes we’re cramming in a ridiculous amount of talent into an additional late afternoon show, as well as our usual evening gig. An incredible array of original songsters will be gracing the stage, with a line up that takes us all the way from banjo to beatbox. Free entry as ever, as is the cake. See you there!

On Friday 29th May, in west London, UK Music for Nepal are putting on a classical music benefit aiming to raise ten thousand pounds for the victims of the earthquake. It’s mostly performances of Romantic and Baroque work (by Chopin, Rachmaninoff, Brahms, Bach, Liszt and Fauré), but with a few outbreaks of early twentieth century modernism via some Scriabin pieces, plus a world premiere of a new piano work by composer Keith Burstein (a onetime Romantic Futurist and still an ongoing champion of latterday tonal music – see here for a long-ago review of his first String Quartet). It’s also got a striking array of performance talent – see below…

Gala Concert for Nepal @ St Barnabas Church, Ealing, May 29th 2015
Gala Concert for Nepal (St Barnabas Church, Ealing, London, Friday 29th May, 7.30pm)

Programme:

Johann Sebastian Bach – Chorale Prelude “Nun Komm die Heiden Heiland” BMV 659
Frédéric Chopin – Polonaise-fantaisie in A flat major, Op.61
Gabriel Fauré – Sicilienne, Op.78
Gabriel Fauré – Élégie, Op.24
Aleksandr Scriabin – Etude in D# minor Op.8 No12
Aleksandr Scriabin – Nocturne for Left Hand
Sergei Rachmaninov – Cello Sonata in G minor, Op.19
Franz Liszt – Consolations, S.172
Sergei Rachmaninov – Prelude in G minor Op. 23 No. 5
Johannes Brahms – Variations on a theme by Paganini (Book 1)
(and a world premiere by composer Keith Burstein)

Performers:

Alicja Fiderkiewicz, Carlo Grante, Artur Pizarro, Murray McLachlan, Viv McLean, Nico de Villiers, Keith Burstein – piano
Corinne Morris – cello

Tickets available here – prices from £20.00 to £50.00.

Also on Friday 29th May there’s the latest London gig by Knifeworld, part of a five-date English tour also taking in Manchester, York, Bristol and Brighton (as mentioned a few posts back). Expect an evening of explosive, tuneful and corrugated art rock played with the vigour of a soul revue and the complexities of a ’70s prog band. For the York gig, they’re supported by motorik rockers Muttley Crew and for the London gig by bounding art-rockers Barringtone (ex-Clor) and Cesarians. The Brighton gig is a Tim Smith benefit gig at which they’re supported by prog-poppers Ham Legion, the mysterious M U M M Y (a brand new project by Cardiacs affiliates Jo Spratley and Bic Hayes) and self-styled bitter and twisted songwriter Stephen Evens (who says of himself that “the songs are beautiful and the words are horrible. I don’t know why you don’t think that’s a good thing…”).

Knifeworld on tour, May 2015

Finally, on Saturday 30th May at 8pm there’s what’s billed as “a night of fun and frolics” at the Wanstead Tap (a craft beer shop in Forest Gate which doubles – or quadruples – as café, bar and performance space). The main attraction is John Ellis (the former Peter Hammill, Stranglers and Peter Gabriel guitarist whom ‘Misfit City’ last encountered via his ‘Sly Guitar‘ album). John’s solo gigs are rare, but he’s something of a master of post-punk art-rock guitar, so well worth seeing. Also on the bill are “post-punk electronic balladeers” Cult With No Name and Kamelia Ivanova (who’s either highly mysterious or needs to fix his or her Facebook page). See below for the flyer.

John Ellis concert @ The Wanstead Tap, 30th May 2015

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