Tag Archives: music for flute

October 2017 – upcoming London classical/experimental gigs – Howard Skempton at 70 (13th October), Rarescale’s New Baroque (14th October)

5 Oct

A couple of quick referred notifications of a pair of upcoming gigs on the classical/experimental cusp – just the blurb…

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Howard Skempton @ 70, 13th October 2017

Club Inégales presents:
Howard Skempton at 70
Hall Two @ Kings Place, 90 York Way, Kings Cross, London, N1 9AG, England
Friday 13th October 2017, 10.00pm
– information here and here

“Club Inégales’s live club nights in Euston create the unexpected chemistry that enables the special to happen as brings in the best in new and spontaneous performance. Its house ensemble Notes Inégales was created by two innovators in British music (Peter Wiegold and David Purser) and features some of the finest players in the country, dedicated to improvisation as well as other contemporary repertoire. Peter has been a pioneer of bringing together composition and improvisation, working directly with musicians in the creation of new work.

“Vocalist, accordionist and composer Howard Skempton has made two delightful visits to Club Inégales, performing his solo accordion pieces and singing and playing with the ensemble. In this special concert at Kings Place, Howard will be joining Notes Inégales to improvise and perform new arrangements of pieces including ‘In Cuba They Play With Maracas’, ‘Chorale Inégales’, Show Me The Limelight’, ‘Trapeze’ and a seventieth birthday tribute to American composer Christian Wolff, entitled ‘Forget the Minuet’.”

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rarescale's 'New Baroque', 14th October 2017

rarescale presents:
New Baroque (with Carla Rees & Michael Oliva)
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Saturday 14th October 2017, 8.00pm
– information here and here

“The first in a series of concerts combining new and old repertoire for baroque flute, ‘New Baroque’ explores how a historical instrument can be used in modern times through a series of collaborations with imaginative contemporary creators. In this eclectic programme, hear new works for baroque flute solo and with electronics by a range of living composers interspersed with music from the baroque era.

“The performers are rarescale regulars Carla Rees and Michael Oliva. A British-based low flutes player and arranger, Carla is the artistic director of rarescale and runs low-flutes publishing company Tetractys, working frequently in collaboration with composers to develop new repertoire and techniques. Originally trained as a biochemist, Michael is rarescale’s composer-in-residence: an electronic musician, with a fondness for woodwind he lectures in and teaches electroacoustic music and music technology at the Royal College of Music and Imperial College. In addition, he runs and premieres multimedia opera work with madestrange opera, a company dedicated to producing new forms of the genre for modern audiences. Recent works include a requiem commissioned by the choir Mosaic (2010) and a new full length opera, ‘Singularity’ (2015).”

The programme is still to be confirmed, but here’s a double taste of what’s likely to be involved:

&nsbp;

May 2016 – upcoming London classical/experimental gigs – Kammer Klang with Scenatet/Matt Rogers, David Helbich, Benjamin Oliver/Yshani Perinpanayagam (May 2nd); Ensemble in Process presents a showcase of modern American composers (May 15th)

27 Apr

Ensemble In Process: Americuration, 15th May 2017

Ensemble In Process presents:
Ensemble In Process: Americuration (featuring Zubin Kanga, Marsyas Trio, Jonathan Russell, Seth Bedford & Maria Fiore Mazzarini)
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Monday 15th May 2017, 7.30pm
information

Formed just under a year and a half ago, Ensemble In Process has progressed from being a small chamber ensemble (formed to compete in Nonclassical‘s annual Battle of the Bands Competition) to being a multiple-direction contemporary music project. Now straddling London and New York – and planning performances, programming and networking across the UK, America, Europe and the wider globe – they have a particular focus on helping contemporary composers without sufficient UK resources to achieve performances of their work within the UK.

Their debut concert as both performers and organizers showcases American composers. Bookended by performances of well-established Steve Reich pieces (from the ‘Counterpoint’ series), it also features works by George Crumb, Michael Gordon, Timo Andres, David Lang, Missy Mazzoli and Jonathan Russell as well as premieres of music by Seth Bedford, Ryan Brown and Ian Dicke, and by EIP’s artistic director Brian Mark.

Participating are the three members of the Marsyas Trio – pianist Zubin Kanga, flautist Helen Vidovich and cellist Valerie Welbanks – and violinist Maria Fiore Mazzarini (plus Seth Bedford and Brian Mark, performing voice and piano respectively on some of their own works and on those of others).

Programme:

Steve Reich – Vermont Counterpoint (for flute & tape)
Timo Andres – At the River (for piano)
David Lang – Killer (for violin & electronics)
Ian Dicke – Get Rich Quick (for piano & fixed media) (UK premiere)
Seth Bedford – Three Cabaret Songs (for piano & voice) (UK premiere)
George Crumb – Vox Balaenae (for electric flute, cello and amplified piano)
Jonathan Russell – Assorted Past (for piano)
Missy Mazzoli – Isabelle Eberhardt Dreams of Pianos (for piano & video installation)
Ryan Brown – Bedside Manner (for flute & cello) (UK premiere)
Brian Mark – Lucid Dreaming (for flute & cello) (world premiere)
Michael Gordon – Light is Calling (for violin)
Steve Reich – Piano Counterpoint (for piano & electronics)

Regarding the future, Brian claims that “Ensemble In Process… will be a rotating vehicle with respect to size, instrumentation, and nature of specific programming. Eventually, it will also feature a special annual transatlantic event, which will become a six-hour concert marathon that will take place between London and select US cities via live streaming. After its debut concert and the first year of operation, Ensemble in Process… will eventually launch into an annual series of multiple diverse concerts and other exciting outreach activities.”

Meanwhile, here are soundclips and video examples for the concert programme (where I could find them…):



 






 
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A little under two weeks previously, there’s another Kammer Klang session at Café Oto, presenting an evening of London loft music on the ground floor again. This time, the concert has a particularly strong theatrical tinge, though not necessarily in a conventional manner.

strong>Kammer Klang presents:
Scenatet performs Matt Rogers + David Helbich + Yshani Perinpanayagam performs Benjamin Oliver + Slips DJs
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Tuesday 2nd May 2017, 7.30pm
– information here and here

Kammer Klang, 2nd May 2017The Fresh Klang performance this month is a new keyboard duet by Benjamin Oliver ‘Mr. Turquoise Synth’, which “explores how the contrasting sonorities of the piano (acoustic) and synth (low memory electronics) and modes of production (human/computer agency) can be combined and juxtaposed. Initially the duet partners are isolated but gradually become entwined in a playful and dynamic relationship.” It’ll be performed as a solo by pianist/keyboard player Yshani Perinpanayagam (Del Mar Piano Trio, Rambert Dance Company, and ‘Showstopper! The Improvised Musical’) and features both the venue piano and a bespoke one-bit pulse synthesiser designed by chiptune jazzer Blake Troise (Protodome).

Brussels-based philosopher-composer David Helbich (perhaps best known for his ‘Belgian Solutions‘ project, which spots, photographs and documents various frequently absurd-but-human fixings and methods) goes beyond the territory of being a conceptual musician in order to explore and share along the very faultline which separates musical concepts from non-musical concepts. It’s worth noting that David is the kind of composer who chooses to write for air guitar. Having dispensed with instruments, sound and multi-media trappings, what he’s mostly now interested in is the audience, with whom he will be performing one of his “No Music” sessions,

“No Music is no music, but still a musical experience. No music, still for your ears. Since 2010 I have worked on scores for pieces that could be performed right at the spot, in whatever context, as long as one could freely use both hands and had two functioning ears. The pieces offer notated situations of organised listening and simple ear manipulations. I understand the this material more as a practice than as a series of composition, even though they can appear as such. Pieces appear in printed form as well as in spontaneous performances or entirely set theatrical or concert performances. These interventions are entirely personal and therefore not so much interactive as “inner-active”, self-performative. The reader as the performer as the listener.”

Below is an example from a performance in Brussels.


 

In between, there’s Scenatet – an ensemble working under the remit of “art music theatre in unusual spaces” and generally works with younger Danish composers, creating cross-genre performances involving elements of drama and “happenings” as well as music. Though the ensemble consists of twelve permanent musicians, for this concert, they’ll be down to a trio of Vicky Wright (clarinet), Mina Fred (viola) and My Hellgren (cello) in order to perform the world premiere of Matt Rogers‘ ‘Weep At The Elastic As It Stretches’ The piece is an attempt to “embody the attitudes and spirit” of N.F. Simpson’s 1958 absurdist play ‘A Resounding Tinkle’, which “ask(s) that we rejoice in all manner of unexpected objects, situations and concepts, taking great delight in the most categorical of descriptions and in a complete lack of distinction between the mundane and the exotic.”

This month’s Kammer Klang DJ set is provided by Tom Rose and Laurie Tompkins, the people behind the London/Berlin record label Slip (which specializes in “exploratory work which negotiates the fringes of new instrumental and electronic music” and is heavily involved with site-specific live events from instrumental performances through to club nights).

Programme:

Fresh Klang: Benjamin Oliver – Mr. Turquoise Synth
Matt Rogers – Weep at the Elastic as it Stretches (world premiere)
David Helbich – No Music (a performative rehearsal)
DJs: Slip
 

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…


 

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.

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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”.


 

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.

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