Tag Archives: Michiko Shimanuki

March/April/May 2018 – upcoming classical gigs in London and Oxford – three evenings of chamber music by female composers courtesy of the Scordatura collective (25th March, 20th April, 19th May), including a Polly Virr guest slot in May… plus the London New Wind Festival’s ‘New Music by Women Composers’ concert (23rd March)

10 Mar

From March to May, women’s music collective Scordatura continue their mission to present, perform and illuminate work by female composers, via a series of monthly concerts in London or Oxford.

The March date in London is “an evening of wind chamber music from some of Europe’s most exciting female composers.” Living composers will be represented by Judith Weir’s ‘Mountain Airs’ (a free adaptation of two traditional Scottish melodies, which dates back to 1988); but there’ll also be wind quintets by a pair of bold and prolific twentieth-century French composers (Claude Arrieu and Hedwige Chrétien) as well as by English serialist grande-dame Elisabeth Lutyens.



 
In addition, there’ll be a performance of ‘Trio For Winds’ by the late Prague-based Scottish composer Geraldine Mucha, whose work was obscured for much of her lifetime (partly due to Cold War politics and partly due to so much of her energy and social value having being subsumed into other work as chatelaine and foundation head for her talented father-in-law, the Czech Art Nouveau painter Alphonse Mucha).


 
In April, three Scordatura members – cellist and artistic director Rachel Watson, clarinettist Poppy Beddoe, and pianist Cecily Lock – will be playing a set of chamber trios in Oxford. Two are by living composers – ‘Arenas d’un Tiempo’ by Cuban-Afro-American Tania León and ‘Canta, Canta!’ by Thea Musgrave.

The remainder are historical – ‘Passacaglia on an Old English Tune’ (by the slim-catalogued but accomplished post-Impressionist Rebecca Clarke); ‘Sonata for Clarinet and Cello’ (by the smart, witty and superbly spirited Phyllis Tate); ‘Andante for Clarinet and Piano’ (by the elegant twentieth-century neoclassicist Alice Mary Smith); and ‘Three Pieces for Cello and Piano’ (by Nadia Boulanger, whose exemplary work as a teacher of other composers from Philip Glass and Elliott Carter to Aaron Copland tends to overshadow her own compositional reputation).



 
Scordatura return to London (and the Old Church) in May for an evening of cello ensemble music. This will include pieces composed and performed by a guest – Manchester cellist Polly Virr (another latter-day tech-savvy polydisciplinary, who works with Rachel Watson in flashmob ensemble The Street Orchestra of London and whose work outside of the immediate classical sphere covers the string loop pedal duo Täpp as well as work with indie-folk band Ideal Forgery plus various Manchester singer-songwriters).

Landscape- and travel-inspired, Polly’s pieces include standard playing and cello-body percussion plus occasional extended technique and voice, in a similar manner to other post-classical/pop-friendly solo cellists like Laura Moody, Philip Sheppard, Zosia Jagodzinska and Serena Jost. She also draws additional inspiration from post-classical electronic dance artists such as Phaeleh. I’ve pasted in a couple of her Soundcloud shots below.

 
The other items on the programme include the Cello Quartet by Grażyna Bacewicz (a violin soloist and onetime Boulanger student who became one of the first internationally-recognised Polish female composers) and ‘Chant’ by the humble, undersung Scottish composer and multi-instrumentalist Marie Dare (for whom I’ve found a lone biography here) As with the other two concerts, there are a couple of pieces by living women, both of them cello quartets – the slow windings of Tina Davidson’s ‘Dark Child Sings’, and Gabriela Lena Frank’s ‘Las Sombras de los Apus’ (an early piece rising from dark tones to swarming explosions and dance rhythms, balancing – as with most of her music – the European and Latina aspects of her own multicultural heritage).


 
Dates as follows:

  • ‘The Grand Tour: European Music for Wind Quintet’ – The Old Church, Stoke Newington Church Street, Stoke Newington, London, N16 9ES, England, Sunday 25th March 2018, 7.30pm – information here, here and here
  • ‘Scordatura at St Michael’s’ – St Michael & All Angels Church, 33 Lonsdale Road, Summertown, Oxford, Oxfordshire, OX2 7ES, England, Friday 20th April 2018, 7.30pm – information here and here
  • ‘Celli! Music for Cello Ensemble’ – The Old Church, Stoke Newington Church Street, Stoke Newington, London, N16 9ES, England, Saturday 19th May 2018, 7.30pm – information here, here and here

 
* * * * * * * *

UPDATE, 16th March 2018 – …and, if you can’t wait that long, I’ve just found out that the people behind the London New Wind Festival are staging a London evening of new music by women composers, as part of International Woman’s Month; a couple of evenings before the first of the Scordatura concerts.

A loose on/off quintet of Simon Desorgher (flutes), Catherine Pluygers (oboes), Ian Mitchell (clarinets), Alan Tomlinson (trombone), and Robert Coleridge (piano) will be playing the following pieces:

Yuko Ohara – Rising Eels (for oboe & trombone)
Margaret Lucy Wilkins – “366” (for solo trombone)
Dorothee Eberhardt – Campion (for bass clarinet & piano) (UK premiere)
Violeta Dinescu – Lichtwellen (for solo B-flat clarinet) (UK premiere)
Michiko Shimanuki – First Snow (for solo piano) (world premiere)
Catherine Pluygers – Japan (for ensemble)
Janet Graham – From Dawn to Dusk (for flute, oboe and piano)
Erika Fox – Remembering the Tango (for flute and piano)
Ming Wang – Die Verwandelten (for solo bass flute)
Enid Luff – The Coming of the Rain (for solo oboe).

London New Wind Festival presents:
‘New Music by Women Composers’
Schott Music Ltd, 48 Great Marlborough Street, Soho, London, WIF 7BB, England
Friday 23rd March 2018, 7.30pm
– information here, here and here

This music’s currently so obscure that this is the only soundclip I could find for it…

 

November 2017 – upcoming London classical gigs – the 20th London New Wind Festival including Giorgio Coslovich and Michiko Shimanuki premieres (17th); Daniel Okulitch, Lucy Schaufer and Kim Criswell join an evening of the songs of Glen Roven (22nd November)

10 Nov

London New Wind Festival, 17th November 2017

Every Sunday on Oxford Street a bland corporate doorway disgorges a full Salvation Army wind band which, rain or shine, tramps up and down past the shoppers, playing hymns on busy corners or (at Christmastime) adding a numinous aural glow to the grandeur of Selfridges storefront. Should you choose to sneak inside the same door, you’ll find yourself in Regent Hall, a five-hundred-and-fifty seat venue, once a Victorian rollerskating rink but subsequently transformed by Sally Army founder William Booth into a worship hall. It’s one of central London’s hidden-away concert glories, much like the splendid Bolivar Hall tucked away at the Venezuelan Embassy ten minutes northwards (which you’re only likely to have heard of if invited to a Latin American event).

London New Wind Festival, 17th November 2017I’ve only recently discovered that Regent Hall hosts the annual London New Wind Festival, directed by oboeist and composer Catherine Pluygers, and that the 2017 concert takes place next Friday. The evening sports a double-quintet ensemble of Simon Desorgher and Gavin Morrison (flutes), Judy Proctor and Catherine Pluygers (oboes), Phil Edwards and Ian Mitchell (clarinets), Henryk Sienkiewicz and Gillian Jones (horns), Glyn Williams and Anna Feild (bassoons) plus pianist Robert Coleridge and conductor David Sutton-Anderson; promising “a concert in our usual style… a varied and memorable programme of new music with focus on wind symphony orchestras, brass ensembles, new music by women composers and improvisation.”

The concert notes add “as is our trademark, we are presenting an exciting concert of new pieces especially written for double wind quintet (ten wind players) as well as piano and electronics, composed in a huge variety of styles ranging from the edgy ‘Rape Of The Moone’ by Elisabeth Lutyens (for eight wind instruments), and the mobile ‘Shadow Play’ (for flute and clarinet) by George Nicholson, to the atmospheric ‘Windchanges’ (for ten wind instruments) by Michael Christie and the dynamic ’Metropolis’ (for all eleven players and electronics) by Catherine Pluygers.”

Full programme:

George Nicholson – Shadow Play for Flute and Clarinet
Giorgio Coslovich – A Winter’s Tale (world premiere)
Michiko Shimanuki – Ordinary Things in My Garden (world premiere)
David Sutton-Anderson – Nachtritt
Elisabeth Lutyens – Rape of the Moone (Op.90)
Catherine Pluygers – Metropolis
Michael Christie – Windchanges
Paul Patterson – Phoenix Sonata (2nd movement) for oboe and piano

London New Wind Festival, The Hinrichsen Foundation, Holst Foundation & the Performing Rights Society present:
The 20th London New Wind Festival
Regent Hall, Salvation Army, 275 Oxford Street, London, W1C 2DJ, England
Friday 17th November 2017, 7.30pm
information

* * * * * * * *

With his roots and his heart in Broadway (where he debuted as a musical director at the tender age of nineteen), recognition which includes four Emmy Awards, and skills that span piano, composing, lyric-writing, conducting, opera translation and producing, Glen Roven is pretty much the complete musician.

This is particularly true if you start by looking at things through the rosy lens of adult contemporary music. Glen’s a globetrotting polymath of those spangled and sometimes self-regarding spheres within which Presidential inaugurations and all-star galas, light and heavy concert music blend with tuxedo-donning pop stars, power brokers and opera premieres. His adventures include writing a musical with Armistead Maupin, conducting high-profile live Steven Spielberg extravaganzas and Leonard Bernstein tributes, and leading orchestras for (among others) Sinatra, Domingo, Sammy Davis Jr and Kermit the Frog.

Yet for all of the pops-gala glitz that can surround Glen, he’s also deeply embedded in the formal classical world, translating Mahler, Schubert and Mozart and generating prolific amounts of his own original work – notably, thirty-five different song cycles which have worked their way into repertoire around the world). In part, he’s the deliverer of a kind of sumptuous, sugarplum American classical – deceptively complex and with a shrewd mind brought to bear on its audience, bridging the inclusive easy-listening dynamics of pop-orchestral and classical fusion with the edgier harmonic depth of unsublimated modern music. He’s arguably best known these days for his adaptations of classic children’s narratives ‘The Runaway Bunny’ and ‘Goodnight Moon’, both of which are latterday successors to the likes of Prokofiev’s ‘Peter and the Wolf’ and Don Gillis’ ‘The Man Who Invented Music’ (and, all right, Kleinsinger and Tripp’s ‘Tubby the Tuba’) – accessible and dramatic music full of colours, moods and ready universal emotion: functioning both as stepping stones into a wider classical world and as witty, heartfelt works in their own right. On a harder note, his taut and emotional contributions to ‘The AIDS Quilt Songbook’ project suggest a man who’s anything but lost in showbiz.

The Music of Glen Roven, 22nd November 2017If you fancy an up-close London evening in which Glen himself pares his work down to its greatest simplicity and directness – just his own piano plus three leading singers from classical and musical theatre – you’ve got a chance to attend one. At Waterloo’s 1901 Arts Club, Glen will be joined by Canadian bass-baritone Daniel Okulitch (soon to be seen in the world premiere of Nico Muhly’s ‘Marnie’ at English National Opera), and international mezzo sopranos Lucy Schaufer and Kim Criswell for various UK premiere performances, including a world premiere.

Jonathan Blalock & Tintagel Music present:
Kim Criswell, Daniel Okulitch and Lucy Schaufer sing The Music Of Glen Roven
1901 Club, 7 Exton Street, Waterloo, London, SE1 8UE, England
Wednesday 22nd November 2017, 7.30pm
– information here and here

Programme:

Two Songs by Edna St. Vincent Millay (Love Is Not Love, An Ancient Gesture) (performed by Lucy Schaufer) (UK premiere)
Saraband from ‘Symphony No.2’ (performed by Glen Roven) (world premiere)
Songs from the Underground (performed by Daniel Okulitch) (UK premiere)
The Hillary Speeches (performed by Kim Criswell) (UK premiere)
Goodnight Moon (performed by Daniel Okulitch) (UK premiere)

For examples I’ll leave you with performances of ‘Goodnight Moon’ in its full orchestral/soprano version, a Roven Yeats setting and the AIDS Quilt piece ‘Retro’ (the latter two sung by Daniel Okulitch) plus a hour-long interview with Glen himself, which ought to throw his work into a more detailed light as well as displaying his own confident, breezy pragmatism about his method and motives (pragmatic enough to make most of my critical hopscotching above a little redundant).

 

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