Tag Archives: music for electronics

March 2017 – upcoming London classical/classical-experimental gigs, (7th, 16th, 17th) – Kammer Klang (with Klara Lewis/Nik Colk Void, Christopher Redgate, Phaedra Ensemble performing Leo Chadburn and John Uren); Tomos Xerri & Claire Wickes’ rush-hour duets (with a new Liam Mattison piece); Elisabeth Turmo & Elena Toponogova’s Norwegian/Russian celebration

1 Mar

As well as composers ranging from Grieg to Takemitsu, these three upcoming London gigs take in trolls, moths, David Bowie, extended fiddles and oboes, and just a tiny hint of saw abuse. Let’s have a look and listen.

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Kammer Klang, 7th March 2017Kammer Klang presents:
Klara Lewis + Phaedra Ensemble (performing Leo Chadburn) + Christopher Redgate + John Uren + Holodisc DJs
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Tuesday 7th March 2017, 7.30pm
– information here and here

From the Kammerers (supplemented by a few text raids from here and there)…

“In our second show of 2017 we are joined by Klara Lewis, the critically acclaimed sound sculptress who has performed in clubs and art galleries around the world. Lewis builds her work from heavily manipulated samples and field recordings, creating a unique combination of the organic and the digital. Klara’s second album ‘Too’ was released in 2016 on Editions Mego to great acclaim. She will be performing with Nik Colk Void, an experimental electronic recording artist who is one part of Factory Floor (an alliance with Gabriel Gurnsey) and one-third of Carter Tutti Void (with former Throbbing Gristle members Cosey Fanny Tutti and Chris Carter). Coming from an English art school background, and an education that was decidedly non-musical in nature, Nik’s work is as conceptual as it is visceral – exploring the out-regions of pushing and manipulating sound (via modular synthesis, extended guitar techniques and vocal processing), and collaborating with contemporary visual artists such as Haroon Mirza and Philippe Parreno.



 
“We are also joined by Phaedra Ensemble, whose performances explore the spaces between classical, experimental and contemporary music. Phaedra brings together some of London’s most exciting musicians to curate programmes with new collaborations, reinterpretations of well-known modern works and forgotten classics. Its members have a strong intuition for genre-crossing and interdisciplinary work, often in collaboration with artists from other disciplines. This month Phaedra will perform ‘The Indistinguishables’, a 2014 string-quartet-and-electronics work by Leo Chadburn. Leo is a composer and performer of experimental and electronic music, gallery music and (as Simon Bookish) avant-pop. ‘The Indistinguishables’ works through a cycle of seventy names of UK moth species, each accompanied by a chord or phrase, like a fleeting soundtrack to these evocative words. The recordings are triggered by the quartet, so the pacing of the pauses and resonances is under their control, part of their ensemble dynamic.


 
“Phaedra will also be performing this month’s “Fresh Klang” work, which is from British composer John Uren. ‘A few weeks after David Bowie’s death in January 2016, Dr Mark Taubert, a palliative care doctor based in Cardiff, wrote an open letter to Bowie, posthumously thanking him for the soundtrack he had provided to his life, his dedication to his art, and the inspiration he was, and continues to be, for others also facing end-of-life illnesses. Retweeted by Bowie’s son, Duncan Jones, Mark’s letter has gone on to have a huge impact, and has been recited at several Letters Live events by Jarvis Cocker and Benedict Cumberbatch. John collaborated with Mark for this composition, combining a recording of Mark reading his own beautiful letter with fragile strings and electronic timbres; acting as a cushion for Mark’s words to drift across.


 
“The distinguished oboeist Christopher Redgate will perform his own work ‘Multiphonia’. Since his time as a student at the Royal Academy of Music, he has specialised in the performance of contemporary oboe music. Now the Evelyn Barbirolli Research Fellow at the Royal Academy of Music and a Fellow of the Royal Academy of Music, Christopher (in collaboration with Howarth of London) has redesigned the instrument. He performs exclusively on his creation, the Howarth-Redgate 21st Century Oboe, which offers extended capability for twenty-first-century music including microtones, multiphonics, extended range and electronics.

“There will also be DJ sets from the people behind British experimental music label Holodisc.”

Programme:

Fresh Klang: John Uren – Her Own Dying Moments (performed by Phaedra Ensemble)
Leo Chadburn – The Indistinguishables (performed by Phaedra Ensemble)
Christopher Redgate – Multiphonia (for solo oboe)
Klara Lewis + Nik Colk Void – improvised set

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South and slightly west, here are a couple of interesting-looking duo shows at the 1901 Club in Waterloo – picked out from the rest of the venue’s busy schedule by dint of having interesting instrumentation, interesting juxtapositions, or the promise of new pieces being premiered.

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Tomos Xerri, 2017Hattori Foundation presents:
Hattori Foundation Rush-Hour Recital: Tomos Xerri & Claire Wickes
1901 Club, 7 Exton Street, Waterloo, London, SE1 8UE, England
Thursday 16th March 2017, 6.00pm
information

Outstanding contemporary harpist and Riot Ensemble member Tomos Xerri performs regular duet concerts with English National Opera’s principal flautist Claire Wickes (who also plays as guest principal with most of the big London orchestras, as well as the São Paulo Symphony). Here’s one of those shows – one of the Hattori Foundation’s showcase concerts, nicely timed for the Waterloo homeward-bounders.

Claire Wickes, 2017

While Claire and Tomos will be playing a set of established pieces by Takemitsu, Debussy, Piazzolla and American tonal hero Lowell Liebermann (as well as a sonata by the distinguished twentieth-century British polymath William Alwyn), they are both strong enthusiasts for contemporary music, and are premiering a new composition by Trinity Laban alumnus Liam Mattison (a recent partipant in the LSO’s Panufnik Composers Scheme).

Look out, too, for any mention of Tomas’ upcoming musical-saw-and-electronics project… which at the moment seems to be more of a tingling promise than anything concrete. If any more evidence shows up, I’ll blog it myself.

Programme:

Astor Piazzolla – Bordel 1900 (from Histoire du Tango)
Lowell Liebermann – Sonata for Flute & Harp
Claude Debussy – La Chevelure (from Trois Chansons de Bilitis), Nuit D’Étoiles
Tōru Takemitsu – Toward the Sea III
Liam Mattison – new commission
William Alwyn – Naiades (Fantasy-Sonata)

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Elisabeth Turmo, 20171901 Club presents:
Elisabeth Turmo & Elena Toponogova: “Two Journeys”
1901 Club, 7 Exton Street, Waterloo, London, SE1 8UE, England
Friday 17th March 2017, 6.30pm
information

This is a musical celebration of two cultures, Norwegian and Russian, performed by Norwegian violinist Elisabeth Turmo and Siberian pianist Elena Toponogova. Both are recent or imminent Masters graduates from the Royal College of Music, with growing international reputations. Elizabeth has performed as a soloist with the Arctic Philharmonic, the Oslo Chamber Orchestra, the Toppen International Festival Orchestra and the Barratt Due Symphony Orchestra; while Elena has performed as a chamber musician and soloist across the United Kingdom, Russia and Germany.

Elena Tonogova, 2017Already tagged as “conveying the stormful temperament of a northern Norwegian” in her concert performances, Elisabeth is also an up-and-coming exponent of the hardingfele, or “Hardanger fiddle” – the thin-wooded Norwegian violin with additional sympathetic strings which is traditionally used for folk dances and church processionals, and which bridges the gap between Norway’s ecclesiastical life and its supernatural mythology (by way of “troll-tunings” and Robert Johnson-esque myths about music lessons from the Devil).

Several hardingfele pieces will be performed as part of the concert set. I doubt that these will include a solo arrangement of Michael Grolid’s recent ‘Ouverture’ (as played here two years ago by Elizabeth and Barratt Due’s Symphony Orchestra) but I’ve included it in lieu of her having posted up any other recordings with the instrument.


 
Programme:

Ole Bull – A Mountain Vision
Selected pieces for hardingfele
Bjarne Brustad – Fairy-tail for violin (solo)
Edvard Grieg – Solveig’s Song (from the ‘Peer Gynt’ suite)
Pyotr Ilyich Tchaikovsky – Melody for violin and piano Op.42 No.3
Nikolai Medtner – Sonata Reminiscenza Op.38 (from ‘Forgotten Melodies’
Pyotr Ilyich Tchaikovsky – (arr. Mikhail Pletnev ) – Intermezzo (from ‘The Nutcracker Suite’)
Igor Frolov (from George Gershwin) – Concert Fantasy on Themes from ‘Porgy and Bess’
 

November 2016 – upcoming London classical gigs – Daire Halpin & Jean Kelly in David Wallace’s ‘London Irish Reflections’ (14th)

13 Nov

Some quick news on an interesting-sounding concert tomorrow, which I’ve only just picked up on:

'London Irish Reflections', 14th November 2016
Irish Heritage presents:
Daire Halpin & Jean Kelly: David Wallace’s ‘London Irish Reflections’
The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, England
Monday 14th November 2016, 7.00pm
information

‘London Irish Reflections’ is a new song-cycle for soprano, acoustic and electric harps and electronics, which merges two distinct art music traditions – Western classical and traditional Irish – and which is based on the reflections and insights of the London Irish community. The piece came about through Cork-born cousins and musicians Daire Halpin (soprano) and Jean Kelly (harp) commissioning a piece from a Kilkenny-born musical polymath (composer, pianist, conductor and dancer David Wallace) in order to explore their interest in the diverse and sometimes contradictory experiences of those, like themselves, who’d emigrated from Ireland to London.

Thought up by a four-person creative team, all of them London Irish (with the fourth being ‘Guardian’ journalist and deputy business/consumer affairs editor Dan Milmo), the piece expanded into a communal musical reflection on the experience of Irish immigration to London within current living memory. Drawing on Dan’s interviews with attendees at the Southwark Irish Pensioners project, it was supplemented by similar discussions with family members and friends within the London Irish community, including Dan’s conversations with members of the Bloomberg group ‘Paddy Chat’ and a swathe of people ranging from working artists to manual labourers who laid the foundations of the London Tube train network to the chief executives of several major London firms.

The song cycle is structured around various themes – including displacement and belonging – which surfaced as common shared threads within Dan’s various interviews, with the words of the interviewees have been rearranged to both form and inform multi-perspective reflections throughout the piece. Dan comments “I found a lot of the discussions at the Pensioners Project very moving because the interviewees had so many fascinating stories to tell about themselves but they had never been recorded.”

Jean confesses that “we were moved by the tales of hardship endured by the audience members – a generation of Irish emigrants who arrived in London in the 1950s and ’60s. The comparison to our own trouble-free, racism-free experience of moving to London was shocking to me, and I came away feeling that I owed a huge debt to this group of people who contributed so much to change the attitude towards Irish people in Britain, and who allowed my transition from Cork to London to be so smooth.” However, ‘London Irish Reflections’ actively celebrates the community’s experience as much as dwelling on its hardships. Daire adds “being an emigrant myself, I found a lot of the literature focused on the darker, tragic side of life as an emigrant. I wanted to explore the experiences of other emigrants and find a way to share our stories so we can reach out to the many, many people whose lives have been touched by emigration.”

David Wallace adds: “I have tried to create a sound world for each of the bodies of text that allows the message behind the text to really shine through. Working with both concert and electric harps helped to create a contrast in sound world that the text seemed to contain, one where the old and the new collide with the same agenda: the sense of loss at having to relocate.”

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For something slightly similar and imminent – musically different but based around community vox pops (admittedly the pre-Brexit voices of depressed communities in southern England) – you could compare and contrast this with Billy Bottle & The Multiple’s ongoing roadshow ‘The Other Place‘, which rolls into London next Sunday. This has also reminded me of ‘I Could Read The Sky’, the 1999 Nichola Bruce film on the London Irish emigrant experience, which was soundtracked (with typically mournful rhapsody) by Iarla Ó Lionáird. I’ll have to dig that one out again…
 

September 2016 – upcoming London gigs from Julián Elvira, rarescale, Katsuya Nonaka and Ute Kanngiesser (1st, 6th, 10th, 11th) – post-classical chamber music, premieres and improvisations for assorted flutes, shakuhachi, blowables, cello, etc. (Plus Katsuya’s London film premieres.)

27 Aug

Here’s news on four upcoming shows in London during early September, two of which are brought to us by flute-centred ensemble rarescale

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Julián Elvira, 1st September 2016

Crasmusicas presents:
Julian Elvira presents ‘Blowing’
The Barge House, 46a De Beauvoir Crescent, De Beauvoir Town, London, N1 5RY, England
Thursday 1st September 2016, 7.00pm
– information

Spanish musician Julián Elvira is the principal flautist with Banda Sinfónica Municipal de Madrid. He’s also the developer of the Pronomos flute – a carefully considered redesign of the existing orchestral instrument, designed to improve its ability to cope with the microtonal and enhanced timbral demands being brought to bear on it by contemporary music. His solo show, ‘Blowing’, is “a unique performance of improvised music exploring the sonic qualities of different flutes and pipes. The sounds of the traditional instruments are manipulated and transformed, creating a music experience that moves from ancient to ultra modern sonorities.”


 

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rarescale, 6th September 2016

rarescale: “Falling Out Of Cars”
The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, England
Tuesday 6th September 2016, 7.30pm
information

Direct blurb from the press release:

“In the final concert of its 2016 season, rarescale presents new chamber works for flutes (including low flutes and baroque flute) with piano, guitar and electronics. New works by Steve Kilpatrick, Jonathan Pitkin and Yfat Soul Zisso receive their first performances, and pianist extraordinaire Xenia Pestova presents solo works by Ailis Ni Riain and Ed Bennett. This programme promises a broad range of repertoire, from the simple elegance of Laurence Crane’s ‘Erki Nool’ to the extended techniques of Scott Miller’s ‘The Frost Performs its Secret Ministry’.”

Performers:

Carla Rees – flutes
David Black – guitar
Xenia Pestova – piano
Michael Oliva & Scott Miller – electronics

Programme includes:

Steve Kilpatrick – ‘Falling Out of Cars’ (world premiere)
Jonathan Pitkin – ‘Multi(poly)phonie’s (for quarter-tone alto flute & guitar) (world premiere)
Scott Miller – ‘Anterior/Interior’ either/and/or The Frost Performs its Secret Ministry
Yfat Soul Zisso – new work (world premiere)
Laurence Crane – ‘Erki Nool’
Ailís Ní Ríain – (unspecified work)
Ed Bennett– ‘Bright White Lights’
Daniela Fantechi – (unspecified work)


 

The new Pitkin composition is “a short but wide-ranging piece (which) pushes both instruments in unexpected directions in order to play with conventional expectations of foreground and background, melody and accompaniment, and monody and polyphony.” I couldn’t find any information on the new Daniela Fantechni piece, and rarescale haven’t specified which Ní Ríain item might be on the list, but I’ve made a few educated guesses below (as well as including an Yfat Soul Zisso flute piece which might point the way towards her new one).


 
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Rarescale @ IKLECTIK, 10th September 2016

IKLECTIK presents:
Scott Miller & Carla Rees with Julian Elvira & Katsuya Nonaka
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Saturday 10th September, 6.30pm
information


 
Scott Miller‘s ‘Anterior Exterior’ – see above – is one of the pieces which might be being performed at the Forge show. This particular performance is taken from ‘Devices and Desires‘, the album which he and rarescale partner Carla Rees released in 2012.

This side of their music will be reflected in the week’s second rarescale-related gig, down in Lambeth at IKCLECTIK. A combined sponsor’s sales pitch and evening of spontaneous creation (put together in association with Kingma System Flutes and Kyma Electronics), the show will provide “a demonstration of contemporary and traditional flutes, electronics improvisation systems and their potential for collaboration and innovation”. This will incorporate a “Devices and Desires” set in which Carla and Scott improvise with two special guests.

The first of these guests is Julián Elvira, still around following his solo show earlier in the week. The second guest, Katsuya Nonaka, is a particularly diverse creative character. A traditionally trained player of the shakuhachi flute, he’s also a member of The Seppuku Pistols, whose gimmick (playing alleged “Edo era” punk on traditional Japanese instruments while toying with Japanese ultra-nationalist imagery) might make them a broad-batingly provocative art project… or might not.

Outside of such stunts, Katsuya’s polymathic approach spills over into his other jobs and occupations – rice farming, translation, skateboarding, cartooning and illustrating, and film directing. He has happily combined three of these – the skating, the shakuhachi and the filmwork – in his short ‘Future Is Primitive‘ documentary investigating his view of the connections between and shared pressures brought to bear on both ‘board and bamboo flute (which will be receiving its London premiere the same week, on 9th September at House of Vans, in the tunnels beneath Waterloo station).


 
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IKLECTIK presents:
Katsuya Nonaka & Ute Kanngiesser
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Sunday 11th September, 8.30pm
information

In fact, it’s a particularly busy week for Katsuya Nonaka. As well as the previous two events of his that I’ve mentioned (plus the follow-up screening of ‘Future is Primitive’ at Dalston’s Doomed Gallery on 13th September) he will be playing another IKLECTIC show on the 11th, this time with London-based German improvising cellist and sometime AMM member Ute Kanngiesser, whose musical approach is devoted to “unscripted” music and who specialises in a “layered” approach.

As far as I know this is a first musical meeting for this particular pairing. I’m not sure that there are that many embeddable samples which I can treat you too as a preview; but here’s a clip of Ute’s eerie prolonged cello harmonics for the curious…


 

July 2016 – upcoming London experimental gigs – Horse Improvised Music Club improvisations from small groups including Adam Bohman Text Quartet (5th); Hominid Sounds electronic night with Mark Dicker, Guncleaner, Johnny Broke and others (7th)

2 Jul

A couple of London experimental gigs for the coming week, briefly explored:

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Horse Improvised Music Club, 5th July 2016

The Horse Improvised Music Club presents:
Noel Taylor/Asaf Fleischmann/Ulf Mengersten + Adam Bohman Text Quartet + Antonio Cunzo/Joe Wright/David Stockard/Tony Hardie-Bick
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Tuesday 5th July 2016, 8.00 pm
information

Three small-group performances from the South Bank London improvisers’ hub; following, in part, their tradition of putting well-known improvisers together with lesser-known ones.

The opening act is a scratch quartet of rising Aberdonian jazz saxophonist Joe Wright and Carrickfergus-based percussionist David Stockard with pianist Antonio Cunzo and Chapman Stick player Tony Hardie-Bick. (While it always gives me a lift to see a Stick pop up anywhere in music, since I’ve always loved its clipped-but-singing polyphonic tones, Tony also seems to have the most interesting backstory within the quartet. From being Sham 69’s keyboard player during the late ‘80s, he’s moved from backing up other people’s punk polemics to spending most of his time as a software instrument developer, coaxing new levels of performance interaction out of touchscreens and wearable tech. As a performer, he’s been known to drag his protesting Stick flex-first across gallery floors, an art-punk flourish which I guess is a change from the cloud of warm jazzy reverence which usually surrounds the instrument.)

 
Veteran London acoustic-noise’n’objects performer Adam Bohman takes the middle slot with his Adam Bohman Text Quartet, completed by Adrian Northover, Sue Lynch and Hutch Demouilpied. While Adrian and Sue are usually saxophonists (working together in David Petts’ Remote Viewers and Hogcallin’) and Hutch is a trumpeter and sound designer, it looks as if everyone’s working with voice this time.

There’s not much information on this other than that it’s a text piece, but some guidelines might come from Adam’s work on “talking tapes” during the late ‘70s and early ‘80s – lo-fi audio collages which ranged from spontaneous dictaphone observations (Adam discovering and illustrating the ordinary and mundane anew, in slurred Dada-esque tones) to ludicrous cartoon vocal pieces. The ‘Music and Words’ collation of these odds-and-sodes was described as a laugh-out-loud avant garde album and later releases were even funnier, pushing into prank-and-sketch territories like a splicing of Bob Cobbing with a one-man Pete’n’Dud. Have a listen to When A Man (in which a trio of growling Adams parody both bozo masculinity and thunder-throat action-film trailers, like a squad of querulous Daleks bloated on bright orange corn snacks), or White Sauce Without For Those Who Don’t (Adam’s cutup account of a single Christmas, chopped across with assorted literary, musical and familial distractions).


It is, of course, thirty years on from all of this, so you might get something far more sombre. Since the Quartet are performing something called “the Robin’s Nest Revisited Vocal Quartet”, I wouldn’t bet on it..

The last act of the evening are a trio connected to large-scale improvising institutions in two European capitals. Longstanding improv clarinettist Noel Taylor (Splatter, London Improvisers Orchestra, plenty more) will be playing with Ulf Mengersten (a double bass mainstay of Berlin Improvisers Orchestra) and pianist Asaf Fleischmann.

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Hominid Sounds evening, 7th July 2016

Hominid Sounds presents:
Mark Dicker + Guncleaner + Johnny Broke + tbc
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Thursday 7th July 2016, 8:00 pm
– information here and here

To celebrate the release of Mark Dicker‘s new tape ‘Frog Eggs’, London experimental label Hominid Sounds are putting on “a night of clangs and bangs.” There’s a gradually expanding bill for this, featuring various electronic noisemakers and beat-glowerers from the more unruly edge of London electronica. Mark himself (the man “responsible for the noise behind (the recently deceased) Palehorse is headlining, bringing “supersonic modular-synth slow jams” (for a little more on Mark and how he thinks, there’s a ‘Quietus’ interview here). So far, he’s being supported by “clanging, banging techno noise project” Guncleaner (featuring two members of secretive, elusive London heavy math-rockers Nitkowski) and by “improvised, analogue-synth acid techno” act Johnny Broke (initially a solo project by Shitwife‘s Wayne Adams, which now seems to have expanded and welcomed one half of north London noiseniks Death Pedals). More performers to be confirmed…

I’ve not got much information or workable noises for this concert. For starters, I only bounce around on the outside of this particular musical scene (like a stray static spit in the mix); It also seems clear that it’s a lineup of sound-artists in deliberate flux and change, demonstrating very different faces to their usual output; and even by noise music’s usual enclosed standards, information on this show seems to be insiders-only. So you’ll need to just attend and take a chance on what it might be like.

I did succeed, however, in pulling up a little recent Johnny Broke-ism and a Dicker track from early last year, so here they are:



 

June 2016 – upcoming London gigs – rarescale (Carla Rees & Michael Oliva) perform Pauline Oliveros, Ligeti Maderna, Thea Musgrave and others at IKLECTIK (19th); Douglas Finch’s ‘Inner Landscapes’ concert at the Forge (20th); Douglas Finch & Bobby Chen at the Reform Club (29th)

17 Jun

Three contemporary classical concerts coming up in London between now and the end of the month, including a number of premiere performances of new pieces.

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rarescale @ IKLECTIK, 19th June 2016

IKLECTIK presents :
rarescale (Carla Rees & Michael Oliva)
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Sunday 19th June 2016, 8.00pm
information

Programme:

Piers Tattersall – Analogue
Michael Oliva – Bereft Adrift
Pauline Oliveros- Bye Bye Butterfly
György Ligeti – Artikulation
Bruno Maderna – Music su due dimensioni
Dan Di Maggio – Same Old Monsters
Thea Musgrave – Narcissus

Performers:
Carla Rees (flute & bass flute)
Michael Oliva (electronics)

rarescale is a flexible-instrumentation contemporary chamber music ensemble which exists to promote the alto flute and its repertoire. Its artistic director, Carla Rees, is a UK-based low flutes specialist – player, arranger and the director of music publishing company Tetractys. She plays Kingma System flutes and works frequently in collaboration with composers to develop new repertoire and techniques: she’s also released five records with rarescale‘s in-house record company.

rarescale‘s composer-in-residence, Michael Oliva, also performs regularly with the ensemble in the UK, Europe and the United States. Originally trained as a biochemist, Michael is now a composer with a fondness for writing operas and music for electronics and woodwind. In addition he runs madestrange opera, a company dedicated to producing new forms of the genre for modern audiences, including Michael’s own multimedia operas ‘Black & Blue’, ‘Midsummer’ and ‘The Girl Who Liked To Be Thrown Around’. Michael also teaches composition with electronics at the Royal College of Music, where he is Area Leader for Electroacoustic Music, and runs the termly “From the Soundhouse” series of concerts of electronic music.

Here’s a video of an earlier rarescale performance.

* * * * * * * *

Douglas Finch – Inner Landscapes CD Launch
The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, England
Monday 20th June 2016, 7:00 pm
information

From the Forge’s press release:

Douglas Finch (photo by David Yeo)

Douglas Finch (photo by David Yeo)

Douglas Finch, described as “a true virtuoso” (‘The Independent’), is best known for his innovative and imaginative approach to performance, and for helping to revive the lost art of classical improvisation in concert. As a pianist (winner of the silver medal at the Queen Elisabeth International Competition in Brussels in 1978) and improviser, Finch has already recorded extensively – most recently with the saxophonist Martin Speake, but also with The Continuum Ensemble for NMC and Avie.

“This event celebrates the first ever CD recording of Douglas Finch’s piano and chamber music. ‘Inner Landscapes: Douglas Finch – Piano and Chamber Music 1984-2013’ was recently released on the Prima Facie label. The music was selected from Finch’s catalogue of over forty works, which range from piano, chamber ensemble, orchestra and theatre music to the soundtracks for five feature-length films. The evening will include a performance of selected works from the recording, played by Lisa Nelsen (flute), Aleksander Szram (piano) and Mieko Kanno (violin). Each ticket includes a complimentary glass of wine and a copy of the CD.”

Douglas himself will also be performing, playing “a short piece which is not on the CD, as well as an improvisation to mark the occasion, based on themes that you suggest on the night.”

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Bobby Chen & Douglas Finch, Reform Club, 29th June 2016

June 2016

Reform Club Lunchtime Concerts presents:
Douglas Finch and Bobby Chen: Two Pianos (Four Hands)
Reform Club, 104 Pall Mall, Westminster, London, SW1Y 5EW, England
Wednesday 29th June 2016, 12pm
information

Later in the month, Douglas Finch will also be performing with fellow pianist and regular duet partner Bobby Chen at a lunchtime show at the Reform Club. In addition to a performance of Rachmaninov’s ‘Suite for Two Pianos, Op 5 no 1′, they’ll be premiering one of Douglas’ own compositions, provisionally titled ‘Hapsburg Burlesques – Fantasy Transcriptions on Der Rosenkavalier, Mahagony and Other Elegies’ and working around variations on Strauss, Beethoven and others.

This is almost certainly to be a formal club event with a dress code and restricted access to non-members, so be sure to email and enquire about tickets in advance using the link above. Meanwhile, here’s a sample of Douglas’ improvisations and “instant variations”.


 

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