Tag Archives: music for piano

December 2017 – various upcoming gigs in Bristol and London – Seitz, Tom O.C Wilson and Northwest (17th December); Colonial Sun, Mally Harpaz and V Ä L V E (19th December); The Secret Crowd and The Many Few (15th December)

7 Dec

Here are three more upcoming December shows across the coming fortnight which caught my interest. There’s a three-helping dose of sophisticated underground pop on a decommissioned barge in Bristol; another triple-decker in London covering moody post-colonial balladry, electro-acoustic film music and experimental collage-composing; and finally an easy-going London indie rattlethrough…

As I’m still rushed, what follows is the usual textgrab from press releases and gig guides, although I’ve leaned in to dab in extra information where needed…

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Seitz + Tom O.C Wilson + Northwest, 17th December 2017

Seitz + Tom O.C Wilson + Northwest
Grain Barge, Mardyke Wharf, Hotwell Road, Bristol, BS8 4RU, England
Sunday 17th December 2017, 8.00pm
– information here and here

“A Sunday night triple-bill of advanced accessible music. Here’s what to expect:

“Hailing from Germany via California and incubated in Bristol, singer and pianist Carolin Seitz formed Seitz in 2015 – a glacial chamber trio bringing you some vast and microcosmic torch hop. Think Lotte Lenya on Pukka tea!


 
Tom O.C Wilson is an Anglo-American pop composer with an insatiable appetite for musical discovery. His music straddles the line between the classic English pop songwriting tradition (Ray Davies, Andy Partridge, Damon Albarn) and the sophistication of current US acts such as Dirty Projectors and Deerhoof. Yet his musical canvas also draws upon wider influences, from the exuberance of contemporary jazz (Denys Baptiste, John Hollenbeck), to the irresistible rhythmic pull of Sardinian guitarists such as Paolo Angeli and Marino De Rosas.

“Tonight he is joined by the dynamic and musically sensitive trio of James Ashdown (drums), Steve Haynes (bass) and Steve Troughton (keyboard), to perform songs from his recently released album “Tell A Friend” (Pickled Egg Records).


 
Northwest are an experimental pop duo based in London, formed by the Spanish-born singer and composer Mariuca García-Lomas and producer and multi-instrumentalist Ignacio Simón. Their music explores different genres (from contemporary classical music and avant-garde electronica to experimental pop, psychedelia and trip-hop) and has drawn comparisons to artists such as Julia Holter, Portishead or Grouper. Their euphoric performances have quickly become recognized as one of the most captivating and mesmerizing live shows around.”

 
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Colonial Sun + Mally Harpaz + V Ä L V E, 19th December 2017

Blind Dog Studio presents:
Colonial Sun + Mally Harpaz + V Ä L V E
The Victoria, 451 Queensbridge Road, Hackney, London, E8 3AS, England
Tuesday 19th December 2017, 7.30pm
– information here and here

Colonial Sun is the brand-new musical moniker of James Marples, an Australian singer-songwriter who sings dark ballads set amongst minimal cello and percussion arrangements, and whose work has drawn comparisons with Howe Gelb, Sun Kil Moon and Mark Lanegan. Emotionally lucid and at times surreal, these songs explore history, nostalgia and a sense of place and draw on imagery ranging from the Australian landscape to the decaying monuments of empire. This is only the second Colonial Sun gig, for which James will be joined onstage by a new and very special guest…

“James has previously released music (including 2006’s ‘Heads Are Down, Collars Are Up’ EP) on two independent record labels and performed his own compositions at the Glastonbury Festival and at theatres and venues in Europe and Australia. He worked with Second Hand Dance on the music for the shows ‘Creepy House’ and ‘Grass’, and (during 2017) has been the songwriter-in-residence at the Menzies Centre for Australian Studies at King’s College, London.

“Drummer, pianist and multi-instrumentalist Mally Harpaz (who’s played with Lunatic Crash, Anna Calvi, Hazel Iris, Ciara Clifford and Jessica Lauren) will be performing her original compositions joined by a small number of phenomenal musicians and special guests. These distinct pieces were mainly written as part of a collaboration with award-winning video artist Clara Aparicio Yoldi for several short films including ‘Iconosfera’, ‘Zoom Out’, and ‘Zoom In’: the original recordings feature (among others) Anna Calvi, Mark Neary and Mally’s old Lunatic Crash bandmate Eran Karniel.

“Mally’s reverence for the profound creates mysterious melodic lines and shares a luscious ambience with other contemporary pioneers such as Steve Reich, Max Richter, and Nils Frahm.

 
V Ä L V E is the outlet for the compositional work of composer/performer Chlöe Herington (also a member of Chrome Hoof, Knifeworld and Half The Sky), using text and image as the starting point for scores. Chlöe collects sounds and diagrams – such as score fragments found in skips, or electrocardiograph printouts – composing predominantly for bassoon, saxes, electronics and found sounds to explore synaesthetic memory and collective experience.

“Live (joined by Emma Sullivan on bass, Microkorg and vocals and by Elen Evans on harp), the music traverses the realms of noise and improv into songs, punctuated with found sounds and eases into spacy soundscapes.”



 
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The Secret Crowd + The Many Few, 15th December 2017

If you fancy something a little more straightforwardly poppy, then there’s this show a little earlier in the week. The Secret Crowd headline with their sunny semi-acoustic pop-punk (with added ukulele and trumpet), supported by endearing ‘Misfit City’ faves The Many Few playing material from their brand new album ‘Sharkenfreude’, (plus Fleetwood Macs – I don’t know, covers band or ironic indie?). All of it preceding the usual ’60s Mod, Motown and soul disco at the Crawdaddy! clubnight.

The Secret Crowd + The Many Few (Christmas Special) + Fleetwood Macs + Crawdaddy Club Night
The Fiddler’s Elbow, 1 Malden Road, Kentish Town, London, NW5 3HS, England
Friday 15th December 2017, 6.00pm
– information here, here and here

Here’s The Many Few sounding like a delightfully rickety collision of Deacon Blue and XTC with West African highlife; and (due to newness of band and shortage of online material) some muffled recent-gig phone footage of The Secret Crowd…

 

December 2017 – London premiere of the ‘Instrument of Change: Street Piano’ film (9th December)

4 Dec

Something for anyone, regardless of talent, who can never pass a piano without strumming the keyboard…

'Instruments of Change: Street Piano' London premiere, 9th December 2017

Conway Hall presents:
‘Instrument of Change: Street Piano’
Conway Hall, 25 Red Lion Square, Bloomsbury, London, WC1R 4RL, London
Saturday 9th December 2017, 7:00 pm
– information here and here

“Music transforms people’s lives. Street pianos transform cities. This film is about generating more street pianos across the globe.

“You are invited to the London premiere of ‘Instrument of Change: Street Piano‘, an award-winning documentary film about street pianos made by Maureen Ni Fiann and Tom Rochester. The film has been screened at a variety of film festivals including in South Korea, Glasgow and Los Angeles. The film is the culmination of three years work and the co-directors are delighted that most of the people who feature in it will be at the screening. It’s a big “thank you” to all involved, as well as a celebration of street pianos and the people that play them.

“Acoustic pianos in the western world are going to landfill. It’s like burning books. This film is about recycling these everyday instruments, diverting them from the dump to an urban community where they can spread their magic” – Maureen Ni Fiann.

“After the film screening there will be a Q&A session with several of those involved, followed by live piano music (all are welcome to play a tune), drinks and a party.”



 

December 2017 – upcoming London classical etc. gigs – Tre Voci’s spacework (3rd); Keith Burstein’s chamber music (11th)

26 Nov


 
As a matter of course, London-based Anglo-Norwegian cello trio Tre Voci (consisting of Torun Saeter Stavseng, Gregor Riddell and Colin Alexander) sit on a triple cusp. Their work focusses on Early music, contemporary compositions (they’ve premiered work by composers including Mica Levi, Alex Nikiporenko, Bryn Harrison, Kit Downes, Peter Wiegold, Edwin Hillier and Sergei Zagny) and improvisations. Much of this early December concert (played twice in a single day, under the aegis of the Nonclassical organization) sees them explore the third of these directions, creating “meditative” new surround-sound music in combination with outstanding Iranian hand-drummer Mohammad Reza Mortazavi. Laid out in the ICA’s performance space, it will be part gig, part walk-through three-dimensional installation, with further synaesthesic dimensions added by the live visuals from Norwegian artist Henrik Koppen.

For part of the concert’s second half, the trio will play unspecified new compositions of their own as well as teaming up with Norwegian soprano Silje Aker Johnsen to premier a new work by David Stephen Grant. In a recent interview on the Nonclassical blog, Colin Alexander states that the Grant piece will “cover the listeners in thick, interwoven layers of sound… David writes rich, warm and engulfing electro-acoustic music that will fill the space at ICA with shifting harmonies and blurred timbres. My first experience of his writing was through a duo for violin and cello with electronics that I performed with Mira Benjamin in Oslo and London. Although simple and relatively short it was incredibly effective through its nuanced beauty and delicately judged movement.”

Nonclassical & Tre Voci Cello Ensemble present:
Tre Voci: Orbits
Institute of Contemporary Arts, The Mall, Westminster, London, SW1Y 5AH England, United Kingdom
Sunday 3rd December 2017, 4.00pm & 8.00pm
– information here and here

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Keith Burstein

There was a time when Keith Burstein could barely stay out of trouble. As a conductor and commissioner of New Music, he was a rising pillar of British contemporary classical music during his twenties. However, his discovery of his own composing voice – staunchly tonal, in fervent reaction to the austere high-modernist abstractions of the times – drew him into a series of vicious joustings and spats in the early ‘90s, played out first within the musical community, then in the press, in the concert hall and ultimately in the libel courts. He fought hard. The establishment he’d jilted and criticised fought equally hard. There’s not been much forgiveness on either side.

Ten years later, his opera ‘Manifest Destiny’ (which took a broad-brush metaphysical approach to the War on Terror) was performed in Edinburgh in the wake of the London suicide bombings of 2005. Further spats followed over alleged glorification of terrorism. There was another court case, and a bankruptcy. As before, Keith would argue (and continues to argue) that he was fighting not just for his own right to musical self-expression and political challenges, but for everyone else’s. Subsequent adventures have been quieter (and his rebellions subtler), but even as he approaches his sixtieth year he’s never entirely lost that self-appointed role as vehement high-culture renegade.

With all that said, the ultimate Burstein concerns and preoccupations seem more suited to metaphysical and spiritual realms rather than the political and strategic trappings of the battles he’s fought, and their scale and fervour have tended to overshadow the music: the water-pageant melancholy of ‘Requiem for the Young’, the entanglement of manners and compressed frenzy in his ‘Dance of Love/Dance of Death’ string quartet; the foreboding elegance of his choral Holocaust meditation ‘The Year’s Midnight’ and the lucid romantic panorama of his ‘Elixir’ symphony. When writing to a grander scale, he composes work that in some respects resembles the Whitehall of his beloved London – looming and aspirational; fascinated by the power of architecture and history, yet at the same open to and ownable by passers-by; his structures echoing the antique yet repurposing them to modern ends, and being buffeted and reshaped by contemporary impacts; an meticulous admixture of historicism and retrofitting.

This month’s lunchtime recital, however, provides the opportunity to appreciate his music on a smaller magnitude, at a remove from grander clutter of conflicts and history. Packing various shorter Burstein works for piano, violin and cello into its forty-five minutes, it includes assorted piano preludes and the final movement of Keith’s recent ‘Wiosna’ cello sonata (one of several recent works in which he retraces his family history back through his parents’ work as violinists with the Brighton Philharmonic and Halle Orchestra to their Eastern European roots and Russian/Lithuanian connections). Keith (on piano) is joined by notable solo cellist Corinne Morris – whose ‘Macedonian Sessions’ reached number 2 in the classical charts this year – and by violinist/composer Roland Roberts (Solaris Quartet, City of Oxford Orchestra, Brighton Philharmonic Orchestra and many more). Both Corinne and Roland have worked with Keith before; the former premiering ‘Wiosna’… and the latter co-premiering the piano/violin duet Keith composed this year in honour of his late mother Barbara.

Lunchtime Recital of the Works of Keith Burstein (with Keith Burstein, Corinne Morris, Roland Roberts)
1901 Club, 7 Exton Street, Waterloo, London, SE1 8UE, England
Monday 11th December 2017, 12.00pm
– information here and here


 

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

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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).

 

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
 

April/June/July 2017 – upcoming classical gigs – William Howard’s ‘Love Music?’ project for piano – London showcase with Judith Weir (26th April); further shows in London (26th June) and Cheltenham (9th July)

13 Apr

William Howard writes “Throughout my professional career I have enjoyed working with composers and commissioning new works. While I was preparing to record my album of romantic love songs for piano, I started wondering what their contemporary equivalents might sound like. I thought many composers might not take to the idea of writing a piano ‘love song’, with its suggestions of a romantic genre, but almost every composer I approached reacted with great enthusiasm. Since love is a theme common to music across the world and across the centuries, I realised that a collection of twenty-first century piano love songs could provide a perfect introduction to the different musical languages of living composers, especially for listeners who come to new music somewhat reluctantly.”

This is the outcome.

Hoxton Hall/Spitalfields Music presents:
William Howard & Judith Weir: ‘Love Music?’
Hoxton Hall, 130 Hoxton Street, Hoxton, London, N1 6SH, England
Wednesday 26th April 2017, 7.30pm
information

William Howard: 'Love Music', 26th April 2017“How do today’s composers write about love? Join pianist William Howard and composer Judith Weir, Master of the Queens Music, to explore a fascinating selection of new piano pieces expressing different aspects of love through different musical styles.

“William Howard will premiere works by Richard Reed Parry (from Arcade Fire), Joby Talbot (once of The Divine Comedy), Robert Saxton, David Knotts and leading Czech composer Pavel Zemek Novák, together with the winning pieces of his recent composing competition that attracted over five hundred entries from fifty-four countries.

“This is an informal evening with contributions from several composers. Questions and feedback from the audience will be welcome.”

Having selected the concert pieces, William’s just commented “they are all very different in character, mood and level of difficulty and offer a fascinating taster menu of different ways in which composers approach writing music of a very personal nature. ‘Camille’ by Joby Talbot is dedicated to his eight-month-old daughter, Robert Saxton’s ‘For Teresa’ is dedicated to his wife. Richard Reed Parry’s ‘Fast Cloud’ is a fantasy of swirling fast notes, Pavel Zemek Novák’s ‘Little Song of Love and Mercy is a spiritual reflection. The two winning pieces of my composing competition are also very contrasted. Chia-Ying Lin‘s ‘Chanson Perpétuelle’ describes “the kind of love which is everlasting and constantly renewed over time” in an imaginative sound world of crystalline textures, while Freddy Viner‘s ‘Herz an Herz’ is an unashamedly romantic piece evoking the spirit of Wagner. The concert will end with Cheryl Frances-Hoad‘s glorious tribute to Dusty Springfield.”

Programme (in no particular order):

David Knotts – Album Leaf
Chia-Ying Lin – Chanson Perpétuelle (winner, Over 25 category)
Pavel Zemek Novák – Little Song Of Love And Mercy
Richard Reed Parry – Fast Cloud
Robert Saxton – For Teresa
Joby Talbot – Camille
Frederick Viner – Herz an Herz (winner, Under 25 category)
Cheryl Frances-Hoad – Love Song For Dusty

It’s a pity that there doesn’t seem to be a chance of hearing the runner-up pieces (Simon Mawhinney’s ‘ Daniel Josiah is Sleeping ‘, Nathan James Dearden’s ‘love holds me captive again’, Samuel Cho Lik Heng’s ‘Arbophillia’ and Daniel Fardon’s ‘Saudade’) but perhaps they’ll surface at some point. Meanwhile, William has a couple of follow-up Love Songs concerts scheduled:

 
The new pieces act as a companion set to the works on William’s 2016 release ‘Sixteen Love Songs’ (on Orchid Classics).


 

April 2017 – upcoming ambient/textural gigs in London, Stroud and Berlin – two ‘A Gift for the Ephemerist’ shows with Andrew Heath, Anne Chris Bakker, Romke Kleefstra and Jan Kleefstra (14th & 15th); Luke Howard in London and Berlin (19th, 20th) plus Charlie Coxedge. Plus a nod to the Fat Out Festival in Salford (14th-16th)

6 Apr

Four upcoming shows from the more elegant, pianistic end of ambient (although guitar noise is never far away)…

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'A Gift For The Ephemerist', 14th & 15th April 2017

‘A Gift for the Ephemerist’: Andrew Heath & Anne Chris Bakker + Kleefstra|Bakker|Kleefstra

  • IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England, Friday 14th April 2017, 8:00information
  • Secret Garden @ The Museum in the Park, Stratford Park, Stratford Road, Stroud, Gloucestershire, GL5 4AF, England, Saturday 15th April 2017, 12.00-3.00pm – free event – information here and here

“In 2015, an invitation from Aqueous synthesist Andrew Heath to Anne Chris Bakker (to play in the UK as part of a Resound performance) cemented a friendship and mutual admiration of each other’s music. Early the following year, Andrew visited Chris in the north of the Netherlands for a week of inspired improvisation – spending their time gathering field recordings, composing and of course, cycling. Combining Bakker’s beautiful bowed guitar and Heath’s quiet and minimal piano and textures, the collaboration has produced no less than two exquisite albums – ‘The Ephemerist’s Collection’ and ‘Lichtzen’. Pause and contemplate, for here are immersive driftscapes which shimmer and pulse with fragile, half-glimpsed melodies.

“Combining improvised dark-ambient with spoken word, Kleefstra|Bakker|Kleefstra is the work of Anne Chris Bakker with fellow experimental guitarist Romke Kleefstra plus poet Jan Kleefstra. The trio have worked together for several years – following their debut album ‘Wink’ in 2009, they played throughout Europe and Japan. ‘The Wire’ wrote about the trio: “two guitarists construct an icy enclave out of frozen drones and amplifier crackle, a veritable Fortress Of Solitude whose isolation is further emphasised by the poet’s intimately close-miked tones and distant echoes, giving an acute impression of expanses and depths both internal and external.” K|B|K have also collaborated with Peter Broderick, Nils Frahm, Greg Haines and Machinefabriek.”




 

Note also that Kleefstra|Bakker|Kleefstra will be playing on the 16th April at the Fat Out Festival in Salford – a pretty stunning array of musical experimentalists, noiseniks, avant-jazzers and more, running between the 14th and the 16th, and featuring far more contributors and collaborators than I can hope to pin down in a single blogpost anymore, let alone a shared one. If you’re in the area and sufficiently clued up, you’ll know about this avant-art ferment already. If not, it’s not too late to jump in – all details are here.

* * * * * * * *

Luke Howard, 19th April 2017“Melbourne-born composer and pianist Luke Howard (joined by Australian jazz drummer Daniel Farrugia) presents a selection of solo piano and ambient works from his records ‘Sun, Cloud’ and ‘Two Places’.

“Luke studied classical piano as a child before graduating with honours from the Victorian College of the Arts. He was twice a finalist in the Montreux Jazz Festival Solo Piano Competition and has written music for both film and theatre. In 2013 he released the Australian Music Prize long-listed record ‘Sun, Cloud’. Luke’s score to ‘ Where Do Lilacs Come From ‘ won Best Music for a Short Film at the 2014 APRA/AMCOS Screen Music Awards. His second solo album, ‘Two Places’, was released in April 2016.

“Dividing his time between Europe and Australia, in recent years Luke has opened for Benjamin Clementine and Ben Frost, and performed with artists as diverse as Lior and Jeff Mills. His music has been described as “totally sublime” (‘Headphone Commute‘, February 2014), “absolutely heavenly” (Mary Anne Hobbs of BBC Radio 6, July 2013), and “cinematic in its approach” (‘The Age‘, October 2009).”



 
The month’s pair of dates:

  • Bush Hall, 310 Uxbridge Road, Shepherds Bush, London, W12 7LJ, England, Wednesday 19th April 2017, 7.30pm (with Charlie Coxedge) – information here and here
  • Lido Berlin, Cuvrystraße 7, 10997 Berlin, Germany, Thursday 19th April 2017, 8.00pm – information here and here

In London, support comes from Charlie Coxedge (a.ka Charlie Cocksedge of Money), who’ll be performing solo sets of looped guitar music.



 
The London Howard/Coxedge show is another of the gigs repositioned following the sad and sudden closure of the Forge in Camden (see also the BC Camplight show at St Pancras Old Church the following day). It’s comforting to see that the artists can be accommodated so quickly rather than just having holes blown in their schedules; although it doesn’t entirely make up for the loss of a great venue and the closure of all of the work that went into building it up.
 

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