Tag Archives: LSO St Luke’s (venue) – St Luke’s – London – England

January 2018 – upcoming London classical gigs – the Baroque At The Edge festival (5th to 7th January); three string quartet premieres and a Shostakovich from London City Quartet (27th January)

23 Dec

News on an intriguing long-weekender of a festival coming up next month…

Baroque At The Edge, 5th-7th January 2018
“Imagine if Bach was a jazzman, Vivaldi a folk-fiddler, or Handel a minimalist… A brand-new event from the creators of the highly successful London Festival of Baroque Music (artistic director Lindsay Kemp and manager Lucy Bending, working in partnership with LSO St Luke’s) the Baroque At The Edge festival invites leading musicians ranging from classical to world, jazz and folk to take the music of the Baroque and see where it leads them. No rules, no programme notes, no lectures: all you need to know is how to listen.”

There are three virtuoso duet concerts. The first features German recorder player Tabea Debus and theorbo lutenist Alex McCartney performing Telemann’s Solo Fantasias, alongside specially commissioned new pieces from Colin Matthews (‘Meditation’), Laura Bowler (‘TV Man’) and Fumiko Miyachi (‘Air’). The second is a part-improvisational teamup of lutenist Thomas Dunford and Persian percussionist Keyvan Chemirani, crossing and blending the sounds of sixteenth-and seventeenth-century European Baroque masters with similarly dazzling and spiritual Persian compositions. The third and last brings together Bjarte Eike (of raw folk/Baroque crossover ensemble Barokksolistene) and jazz pianist Jon Balke (of Magnetic North Orchestra).







 
Opening the festival, delightfully eclectic pianist, programmer and prime musical communicator Joanna MacGregor will deliver a concert “celebrating birds, ground basses and chaconnes” and consisting of nineteen pieces spanning four-and-a-half centuries – not only the Baroque (handsomely represented by Alessandro Poglietti, Jean-Philippe Rameau, Henry Purcell, Louis-Claude Daquin, François Couperin and Johann Pachelbel), but the Renaissance (William Byrd), the Romantic movement (Franz Liszt, Leoš Janáček), Modernism (Olivier Messiaen), minimalism (Philip Glass) and the fanning-out of contemporary classical (Harrison Birtwistle, Hossein Alizâdeh, Sofia Gubaidulina).


 
Warm, witty universal percussionists O Duo (Oliver Cox and Owen Gunnell) will be leading a family-friendly open-to-all percussion workshop with a baroque twist, while Paolo Pandolfo gives a solo viola da gamba recital embracing fantasies and popular dance-tunes of the sixteenth century, brushes with Bach, Telemann and the French baroque, and Paolo’s own captivating 21st-century improvisations.



 
Perhaps most absorbingly, vocal ensemble The Marian Consort (accompanied by lutenist Jamie Akers and solo actor/onetime ‘Casualty’ star Gerald Kyd) will deliver the London premiere of Clare Norburn’s concert-drama ‘Breaking the Rules‘, an acclaimed concert-drama exploring the last agonies of the seventeenth-century composer Carlo Gesualdo (a boundary-crossing influence on artists including Igor Stravinsky, Aldous Huxley, Werner Herzog and Frank Zappa). Having jealously murdered his first wife Donna Maria D’Avalos (along with her lover), Gesualdo poured his pain into deeply and unconventionally expressive music of torture and regret. ‘Breaking The Rules’ promises “(a) sound-track to Gesualdo’s mind on the final night of his life, as he contemplates his own mortality and the tumultuous events which have led him to this moment.”


 
Dates for ‘Baroque at the Edge’ (all other information is here):

  • Joanna MacGregor – LSO St Lukes, 161 Old Street, St Lukes, London, EC1V 9NG, England, Friday 5th January 2017, 7.30pm
  • Tabea Debus & Alex McCartney – St James Clerkenwell, Clerkenwell Close, Clerkenwell, London, EC1R 0EA, England, Saturday 6th January 2017, 1.00pm
  • Paolo Pandolfo – LSO St Lukes, 161 Old Street, St Lukes, London, EC1V 9NG, England, Saturday 6th January 2017, 4.00pm
  • The Marian Consort: ‘Breaking the Rules’ – LSO St Lukes, 161 Old Street, St Lukes, London, EC1V 9NG, England, Saturday 6th January 2017, 7.00pmtickets
  • Thomas Dunford & Keyvan Chemirani – LSO St Lukes, 161 Old Street, St Lukes, London, EC1V 9NG, England, Saturday 6th January 2017, 9.30pm
  • O Duo Family Workshop – LSO St Lukes, 161 Old Street, St Lukes, London, EC1V 9NG, England, Sunday 7th January 2017, 10.30am
  • Bjarte Eike & Jon Balke – LSO St Lukes, 161 Old Street, St Lukes, London, EC1V 9NG, England, Sunday 7 January 2018, 12.30pm

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London City Quartet, 27th January 2018Much later in the month, over in a lofty Arts & Crafts Movement Anglo-Catholic church in west Kensington, the London City Quartet will be playing four string quartets: one of them an established twentieth century classic, the other three brand new works.

West Kensington Music Team presents:
London City Quartet: “Bomafescho.”
St. Cuthbert’s Church (Earls Court), 50 Philbeach Gardens, Earls Court, London, SW5 9EB, England
Saturday 27th January 2018, 5.00pm
– tickets & enquiries via email here or via telephone (020 7101 4479)

Programme:

Dmitri Shostakovich – String Quartet No. 1
David Bozzo – String Quartet No. 2
Brian Martínez – String Quartet No. 1
Peter Fender – String Quartet No. 1 (Thredony Quartet) Op. 30

There hasn’t been much more that I could dig up about this, either from the slightly bewildering WKMT homepage or elsewhere; but as appetite-sharpeners here’s a recording of David Bozzo’s previous string quartet (as played by the Billroth Quartet), a Martinez piano prelude, and a rendition of the Shostakovich by the Fitzwilliam Quartet. (Peter Fender, modestly, seems to restrict his own video output to examples of his conducting and training rather than his compositions.)



 

October/November 2017 – upcoming London experimental gigs – post-various loops and shades from Rothko, Yellow6 and Darkroom (12th October); Moondog For Gamelan plus Steve Lawson/Corey Mwamba duo (28th October); Steel Pan Fusion plays Philip Glass (23rd November)

4 Oct

Several longstanding Misfit City experimental favourites (all veterans of the liminal cross-encroachments between British post-rock, noise and electronic explorations during the 1990s) feature in a mid-month triple bill of shifting noise, words and melodies down at IKLECTIK.

Champion Version presents:
Edition 1: Rothko + Yellow6 + Darkroom
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Thursday 12th October 2017, 7.30pm
– information here and here

Champion Versions Edition 1, 12th October 2017Though they’ve passed through a shifting variety of lineups and different instrumentation, Rothko are based around a single constant: Mark Beazley’s resonant post-industrial bass guitar, which speaks stern granite-y notes and impressionistic chthonic drones and blurs, sketching and deepen evocatic musical landscapes from unyielding post-punk city visions to soft-edged post-rock hillscapes.

On this occasion they’re appearing in an expanded version of the beautifully bleak words-and-shades trio last mentioned in ‘Misfit City’ just under a year ago (in which Mark was joined by recitateur Johnny Brown from Band of Holy Joy, and by Inga Tillere on projected visuals). In place for tonight’s show is a fourth member – Mark’s Low Bias colleague Graham Dowdall (a.k.a. Gagarin), whose synth wizardry’s brought him into collaboration with Pere Ubu, Suns of Arqa, Roshi and no less than two former Velvet Undergroundeers (Nico and John Cale).


 
Intermittent and elusive, yet steadily prolific, Jon Attwood’s solo guitar project Yellow6 has links with the undersung east London post-rock scene of the 1990s (which also spawned A.R. Kane, Disco Inferno, Moonshake and Bark Psychosis (BP’s drummer Mark Hartnett would later put in a Yellow6 stint). Moving away from his initial goth and anarcho-punk roots (tempered with soul), Jon was drawn into the world of minimalism, repetition and reverbed/distorted drone loops. Shaped equally by Jon’s natural humility and his “obsessive need to create” toward an artistic peak he’s not yet reached, Yellow6 has produced over fifty releases with results variously described as “gentle shape-shifting misery” and “beautiful, shimmering and blissful”.


 
With roots in Cambridge science culture, propulsive and unorthodox ambient duo Darkroom initially found their feet in the fertile 1990s ferment surrounding art-poppers No-Man (initially sporting the latter’s singer Tim Bowness as a member, and providing that particular scene’s experimental edge alongside Steven Wilson’s electrodrones as Bass Communion). Since then, like a wide-orbiting comet, synthworker Os and guitarist Michael Bearpark have forged their own idiosyncratic path in and out of various drone, loop, texture and improv clusters, as well as becoming in-house soundtrackers for brain investigations at the Hub. Moving on from their earlier minglings of boiling starstuff, ambient techno and gasping tidal experimental textures, their more recent music is moody, beating improvised electronica increasingly shaped by Mike and Os’ rediscovery of attenuated blues tones, troubled elongated Neil Young guitar churns and dark bass clarinet voicings. For more assorted ‘Misfit City’ froth and musings on Darkroom, click here. Less celebrated than their gigmates, they’ll be opening the show. They could just as well be closing it.


 
This concert has been set up by boutique vinyl art-music label Champion Version, who’ll have one of their limited-edition vinyl EP featuring all three acts available on the night.

* * * * * * * *

Towards the end of the month, there’s an intriguing reconnection between late twentieth-century New York and the Indonesian form which inspired so much of it…

Moondog Gamelan, 28th October 2017
Europalia Arts Festival Indonesia presents:
Iwan Gunawan & Stefan Lakatos’ ‘Moondog For Gamelan’ + Steve Lawson/Corey Mwamba
LSO St Luke’s, 161 Old Street, St Luke’s, London, EC1V 9NG, England
Saturday 28th October 2017, 7.30pm
information

“Few musicians are the source of as much intrigue as Moondog. A blind man from Kansas transplanted to New York City, he dressed as a Viking and chose to live on the streets. His compositions reflect his experiences of hearing his way through the city – motifs borrowed from Jazz, Classical and Native American music unwind over the constant beating of a tom-tom drum, like the thumping of a subway train. Occasionally field recordings of traffic noise or crying babies sneak in, as if leaking through an open window. It’s the sound of a city, the sound of a wealth disparate parts coming together to create a complex whole – a kind of urban gamelan.

“For this concert, Moondog’s output is literally reimagined as gamelan by Iwan Gunawan (a reknowned contemporary Javanese gamelan composer known for combining the tradition with the use of electronics and computers) and Moondog’s friend and pupil Stefan Lakatos (who performs using a homemade percussion instrument given to him by the composer himself). Featuring instruments built especially for the occasion, this performance takes gamelan out of its traditional context, taking on Moondog’s experimental yet optimistic compositions. Almost minimalist in its construction – indeed, Moondog alleged that Phillip Glass once called him the “father of minimalism” – the influential outsider musician’s melodies resonate amid the controlled chaos of gamelan.”


 

In support, there’s a duo performance by another ‘Misfit City’ favourite – bass guitar looper Steve Lawson and experimental vibraphonist Corey Mwamba. Collaborators for at least a decade, they’re a pair of accessible yet stubborn musicians creating their own long-distance version of village music on the outskirts of the music business. Recorded/filmed evidence of what they do is surprisingly thin on the ground (I can’t find any) so you’ll have to go on word-of-mouth info about their past gigs. Expect some aspects taken from jazz and fed through sundry loops, delays and perky processors, but don’t expect them to be confined by that – their musical minds stretch from contemporary classical and process music to goofy tunes, and their textural tastes from lowdown murmur to ear-piercing noise. A big bucket to dip into.

* * * * * * * *

While we’re still on the topic of New York minimalism and Philip Glass, look out next month for what sounds like it’ll be an enthralling conjunction of Big Apple pulse and Caribbean tonal warmth…

Steel Pan Fusion Play Philip Glass, 23rd November 2017

‘Steel Pan Fusion Plays Philip Glass’
The Jazz Café, 5 Parkway, Camden Town, London, NW1 7PG, England
Thursday 23rd November 2017, 7.30pm
– information here and here

“One of the most influential and important composers of the twentieth century, Philip Glass is a pioneer of minimalist music alongside fellow luminaries Steve Reich and Terry Riley. With a body of work that stretches beyond contemporary classical music into film scores, operas and more, the source material is rich for reinterpretation. We have commissioned London based ensemble Steel Pan Fusion to perform a selection of works from Glass’ extensive repertoire, from his peerless ‘Glassworks’ to the soundtrack for ‘The Truman Show’.”



 

September 2016 – upcoming London classical gigs – BBC Singers perform Jonathan Harvey tribute, also featuring music by Benjamin Britten and a Wim Henderickx premiere (23rd)

18 Sep

A quick reminder/primer for this week’s London concert paying tribute to the late British composer Jonathan Harvey and concentrating on his love for a cappella choral music:

* * * * * * * * *

BBC Singers: ‘Other Presences: The Music of Jonathan Harvey’
LSO St Luke’s, 161 Old Street, St Luke’s, London, EC1V 9NG, England
Friday 23rd September 2016, 7.30pm
– information here and here

Other Presences - The Music of Jonathan Harvey“Haunting, spiritual, ecstatic: Jonathan Harvey’s music blurs the boundaries between east and west, body and soul. Its lucid, bell-like resonances and pioneering use of electronics will take you on a journey into new and transformative worlds.

“’Mortuos Plango, Vivos Voco’ is an electro-acoustic masterpiece. Spinning sonorities ring out as it blends sound samples of a cathedral bell and the voice of a chorister. The looped, harmonised trumpet parts in ‘Other Presences’ weave sounds that echo the music of Tibetan Buddhist purification rituals. ‘Forms Of Emptiness’ sets the vivid flashes of joy in poetry by e.e cummings against a Buddhist Sanskrit chant, creating moments that feel transient and scarcely real.

“Experience Harvey’s compelling music alongside Britten’s virtuosic cantata ‘A.M.D.G.’ and a new work by Wim Henderickx, whose music reflects his fascination for eastern sound-worlds and philosophies.”

Performers:

BBC Singers – choir
Martyn Brabbins – conductor
Marco Blaauw – trumpet
Sound Intermedia – electronics

Programme:

Benjamin Britten – ‘A.M.D.G. Op.17’ (Ad Majorem Dei Gloriam)
Jonathan Harvey – ‘Mortuos Plango, Vivos Voco’
Jonathan Harvey – ‘I Love The Lord’
Jonathan Harvey – ‘The Annunication’
Jonathan Harvey – ‘Other Presences’
Wim Henderickx – ‘Blossomings’ (world premiere)
Jonathan Harvey – ‘Forms Of Emptiness’
Jonathan Harvey – ‘How Could The Soul Not Take Flight’

There’s more on the Wim Henderickx piece in a post penned by the composer himself at ‘Classical Diary’. In it, Wim discusses the interest in Buddhism and spirituality which he shared with Jonathan Harvey, and which led to his composing ‘Blossomings’ as both a salute to Harvey and a triptych setting of texts from different and parallel religious traditions, starting with eighteenth century Tibetan Buddhism (‘From the blossoming lotus’ by Jigme Lingpa), twelfth century Christianity (Hildegard of Bingen’s ‘Holy Spirit’) and 13th century Islam (Jalāl ad-Dīn Muhammad Rūmī’s poem ‘O love’ (text by Rumi). As well as going deeper into the significance of the chosen texts, Wim also comments on the musical structure of the piece, with its inspirations of Tibetan open-air ceremonial music, its use of mixed choir performing multiple functions, the double bell trumpet employed by the soloist as commenter and introducer, and the way in which optional electronics “create a sonorous background of the harmonic material sung by the choir (and) give the work a spatial effect.”

Meanwhile, here are versions of some of the other material on the concert programme, drawn from a variety of sources:





 

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