Tag Archives: Philip Glass

November 2016 – upcoming London classical/post-classical gigs – ensemble work, throat-singing and dance with Ayan-ool Sam, 12 Ensemble and Camilla Isola at Kammer Klang (1st); a baroque-to-now SOLO performance by violinist Daniel Pioro (25th)

29 Oct

At opposite ends of the month, here are the latest examples of two regular and recurring London gigs with their roots in classical music but navigating (especially in the case of Kammer Klang) its rewarding outer margins and potential associations.

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Kammer Klang, 1st November 2016Kammer Klang presents:
Ayan-ool Sam + 12 Ensemble + Camilla Isola + Carrier Records DJ set
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Tuesday 1st November 2016, 8.00pm
– information here, here and here

Headliner Ayan-ool Sam is an acclaimed xöömeizhi, or master of xöömei throat singing (the traditional droning polyphonic music of the Tuva republic in southern Siberia: solo vocalisations developed to mimic and revere both animate and inanimate sounds from nature, in line with the region’s ancient animism). He’s a former student of “xöömeizhi’s xöömeizhi” Kongar-ool, half of Alash Ensemble (with Bady-Dorzhu Ondar), and a frequent throat-singing competition winner whose garlands range from being voted this year’s People’s Xöömeizhi of the Republic of Tuva to gaining the nickname of “Golden Throat” from banjo ace and prolific world music collaborator Béla Fleck. He’ll be performing traditional xöömei as counterpart and capstone to the rest of the evening’s repertoire and explorations.


 
Having spent the earlier part of the year in Iceland for a HEIMA artistic residency (as well as providing the musical backbone for Max Richter’s ‘Vivaldi Recomposed’ project in Paris), orchestral duodecet 12 Ensemble are back in their London hometown for this show. Considered to be London’s foremost un-conducted string orchestra, they’ve recorded and are currently readying a debut album for next year, featuring works by William Walton, Johns Woolrich and Tavener, and the young British composer Kate Whitley (you can see the group performing her piece, ‘Autumn Songs’, below). Previously, 12 Ensemble were Ensemble in Residence for two years at the Forge in Camden, collaborating with several international artists including the tenor Nicky Spence, the pianist Mei Yi Foo and the violist Simon Rowland-Jones. On this occasion, they’ll be performing works by Alex Hills and Ruth Crawford Seeger.

 
Alex Hills is a London-based contemporary composer with a growing reputation for his “interesting and considerable gifts” (Tempo). His recent album of chamber compositions ‘The Music Of Making Strange‘ showcases his interest in diverse elements including spectralism, experimental chamber and punk rock. A performance of one of its pieces, ‘Knight’s Move’, is below.


 
The Hills piece receiving its world premiere tonight is ‘OutsideIn’, which takes inspiration from E. A. Abbott’s classic 1884 novel ‘Flatland‘ (a geometric and philosophical satire). ‘Flatland’ is a recurring source of ideas for Alex – another such piece, a choral work named after the book, can be downloaded for free here. Discussing his interest in “‘flat’ musical worlds”, Alex explains “in a two-dimensional world, a highly complex ‘inside’ would be quite invisible from the ‘outside’, yet to a hypothetical three-dimensional being staring down from above, that same inside would appear completely different.”

Regarding ‘OutsideIn’, Alex continues by describing the piece as “an attempt to think about the relationship between a soloist and an ensemble (a concerto?) in spatial terms. Rather than an ensemble acting as an accompanist to a virtuosic soloist, or a discursive, dialogue-like relationship between them, I place the soloist inside or outside the ensemble’s sound (or the ensemble in or out of the soloist’s)… ‘In’ and ‘out’ also imply boundaries and a centre, which on the one hand are made physically by the ensemble in a horizontal way, with the soloist in the centre and the other two most prominent instruments (first violin and double bass) at the edges, and also by how the musical lines move in register (vertical musical space), initially continually drawn inwards towards a centre of gravity, then at the end of the piece escaping away from that centre outwards.” Alex gives credit for further inspiration to the “virtuosity, imagination and creative freedom” of 12 Ensemble violinist and longtime Hills collaborator Aisha Orazbayev, who’ll be the featured soloist for the premiere.

A valued contemporary and fellow traveller to American modernists such as Charles Ives and Henry Cowell, Ruth Crawford Seeger was a self-taught composer pioneering a specifically American brand of dissonant, meta-mystical music. Among the elements feeding into this were Ruth’s early fascination with the atonal, innovative and highly personal mysticisms of Alexander Scriabin and her own friendship with the poet Carl Sandburg (who was the almost exclusive source of the texts she set to music, although she also carried out a self-translated, twelve-tone setting of the Bhagvad Gita). Her own pugnacious, assertive modernism was further tempered by her studies with musicologist and theorist Charles Seeger, whose concept of “dissonant counterpoint” became a major element in her work and whose cultural Marxism she came to share (leading her into an increasingly missionary devotion to curating American folk music, at the expense of her own composing) and whom she married in 1931 (at a stroke, becoming the stepmother of future folk music hero Pete Seeger).

Ruth’s late return to focussing on her own compositions (after years of selflessly serving and propogating the folk songs of others) was cut short by her death from cancer at the age of fifty-two, although not before she’d delivered a final Suite for wind quintet which incorporated everything she’d learned across her musical life; from post-tonal pluralism, American serialism and Russian-inspired mysticism to her later immersion in folk. Obscured by the reputations of her male contemporaries for many years, Ruth’s work and reputation (particularly that of her 1930s work) has been being revived. 12 Ensemble will be performing her 1931 ‘Andante for string quartet’: a key Crawford Seeger piece whose carefully structured technical dissonances do not deny its growing tragic melody line. Ruth herself valued the latter to the extent that she rearranged the piece for orchestra seven years later, in the hope that the larger arrangement and a skilled conductor would bring out the embedded line to greater effect. Here’s a taste of the original quartet version:


 
The Fresh Klang act for November is dancer, choreographer and performance artist Camilla Isola, a Trinity Laban graduate in her early twenties at the start of what promises to be an interesting career. She’ll be premiering a brand new solo work which, like the Alex Hills piece, draws on ideas and inspirations from ‘Flatland’, exploring dimensional states and the physical dilemma of the body. One of her previous pieces is shown below:

 
DJs from Carrier Records (the seven-year-old New York improv, experimental and contemporary classical label who released the Alex Hill album mentioned above) will see out the remaining gaps in the evening.

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SOLO presents:
SOLO 02: Daniel Pioro
Crypt of @ St Andrew Holborn, 5 St Andrew St, Holborn, London, EC4A 3AB, England
Friday 25 November 2016, 7.00pm
information

The intimate concert recital series SOLO – showcasing unusual works for solo instruments from early music through to new commissions – returns with a showcase in the vaulted crypt of St Andrew Holborn from acclaimed violinist Daniel Pioro.

Daniel Pioro, 2016 (photo © Claire Shovelton)

Daniel Pioro, 2016 (photo © Claire Shovelton)

As player, commissioner, leader and active champion of new music, Daniel’s experience is broad and assertive. He’s a member of innovative chamber ensemble CHROMA, current leader of the Fibonacci Sequence, and the former leader of the London Contemporary Orchestra (with whom he’s played, amongst other pieces, the ‘Triple Concerto’ by Radiohead polymath Jonny Greenwood and Schnittke’s notorious ‘Concerto Grosso No. 1’). He’s worked as a soloist or ensemble player with the Orchestra of St Johns Smith Square (Mozart’s ‘Sinfonia Concertante’, John Woolrich’s ‘Capriccio’), the BBC Philharmonic (Colin Matthews’ ‘Violin Concerto’, Thomas Adès’s ‘Concentric Paths’) and the London Sinfonietta. Daniel has also forged close musical working and performance relationships with a variety of contemporary dancers and with author Michael Morpurgo.

For this concert, Daniel will celebrate and share his eclectic tastes via a set list including “everything from the intricacies of Heinrich Ignaz Franz von Biber’s ‘Passacaglia for Solo Violin’ to the mind-bending repetitions of ‘Knee Play No. 2′ from Philip Glass’ extraordinary opera ‘Einstein on the Beach’.” Also on the set list is ‘Elsewhere’ by Edmund Finnis (a violin-and-reverb piece which Daniel debuted at St Johns Smith Square in June this year), works by American composers La Monte Young and Pulitzer Prize-winning Caroline Shaw (of ACME and Roomful Of Teeth) and the world première of a new piece by SOLO curator Alex Groves. There’ll also be another as-yet-unspecified baroque violin piece: this time by eighteenth-century composer-performer Nicola Matteis, an emigre virtuoso once reknowned throughout Georgian London, subsequently forgotten as a composer until the late twentieth century. (This performance will restore some of his music to its old haunts.)

No doubt there’ll be a more detailed set list emerging shortly, when tickets go on sale.
 

April 2016 – upcoming gigs – ‘The Secret Life of Organs’ tour of England (with The Necks and James McVinnie); plus, in London, ‘The Female Persona’ (a woman’s-eye music evening with works by Sally Beamish, Robert Schumann, William Bolcom and a performance of Francis Poulenc/Jean Cocteau’s ‘La Voix Humaine’)

4 Apr

Some interesting classical or classical-slanted gigs coming up this week and next week…

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'The Secret Life of Organs', April 2016

No-Nation presents:
‘The Secret Life of Organs’ with The Necks + James McVinnie

A double-bill of experimental musicians revealing the secret sounds of some of England’s most majestic pipe organs and using the instruments to their full potential. The tour takes in some of the finest organs in the UK; housed in Birmingham Town Hall, Leeds Town Hall, The Meeting House at Sussex University Brighton, Colston Hall Bristol and the Union Chapel London.

Australian trio The Necks are known for their improvisational approach, never playing the same set twice and each performance a ‘thrilling, emotional journey into the unknown’ (Guardian). This concert sees pianist Chris Abrahams eschew his usual instrument in favour of the organ, showing off the versatility of its deep, warm sounds as part of a trio.

Organist and composer James McVinnie is fast becoming the country’s leading performer of new organ music as comfortable playing medieval music as he is collaborating with the likes of Nico Muhly, Oneohtrix Point Never, Richard Reed Parry (Arcade Fire) and Bryce Dessner (The National). Here he plays a specially-commissioned new score by Tom Jenkinson (which intertwines expansive classical influences with the chaotic intricacy for which Jenkinson is so well known in his work as Squarepusher) as well as performing two of Philip Glass’s most emblematic organ pieces, ‘Mad Rush’ and ‘Music in Similar Motion’.

Tom Jenkinson: “The experience of hearing organ music as a child is one of the most significant influences on my work. Through this new set of pieces I intend to explore some of the darker and more mysterious timbres available on these fantastic instruments.”

James McVinnie: “The organ is the ‘original synthesiser’ — an orchestra of sound like no other, which can fill huge architectural spaces without amplification but can also create a huge range of colourful and beguiling sounds. I enjoy working with many living composers and electronic musicians breathing new life into this grand, noble instrument and I’m thrilled to be now working with Tom Jenkinson on his beautiful and haunting new work.”

Chris Abrahams, The Necks: “With the pipe organ, the Necks take the idea of site-specific music making to another level; one where both the site and the instrument are the same. The hugeness of sound coming from an organ comes about through the combination of thousands of discreet sound producing units as well as the complex, multi directional reverberations possible in the hall space. The sound seems everywhere. Sometimes a pipe set is split between both sides of the pipe array, making possible wild “panning” effects; some pipes sound from the front of the instrument – like the massive bass pipes of the Leeds Town Hall organ; others sound from unseen pipe chambers deep within the confines of the instrument. Each organ is an important part of the building in which it is housed and is reflective of the economic and cultural aspirations of the city that brought it into being.”

Here’s a quick clip of James McVinnie performing a snippet of Morton Feldman’s ‘Principal Sound’ from another event, last month.


 

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'The Female Persona', 12th April 2016The Amalie Trio/Eleanor Janes/Maya Soltan/P.J. Harris present:
‘The Female Persona’
The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, England
Tuesday 12th April 2016, 7.30pm
more information

Programme:

Robert Schumann – ‘Frauenliebe und –leben (Op. 42)’
William Bolcom – ‘Let Evening Come’
Sally Beamish – ‘Sonata for voice, viola and piano’
Francis Poulenc/ Jean Cocteau – ‘La Voix humaine’

Performers:

The Amalie Trio (Catherine Backhouse – mezzo soprano; Alexa Beattie – viola; Elspeth Wyllie – piano)
Eleanor Janes – soprano
Maya Soltan – piano
PJ Harris – director (‘La Voix Humaine’)

“The members of The Amalie Trio (Catherine Backhouse, Alexa Beattie and Elspeth Wyllie) first met as pupils at St. Mary’s Music School in Edinburgh. Now establishing themselves amongst Scotland’s most outstanding young soloists, they unite to champion the wonderful repertoire for mezzo-soprano, viola and piano. Considering their audiences at every turn they offer thoughtful, varied and engaging programmes that bring freshness and life to a large and flexible repertoire ranging from Brahms to Bernstein.

At this concert the Amalie Trio will perform the London premiere of ‘Sonata for voice, viola and piano’ by Sally Beamish, alongside the work that inspired it: Robert Schumann’s ‘Frauenliebe und –leben’ (a song-cycle based, in turn, on poems by Adelbert von Chamisso which voice a woman’s perspective on her love for a man, from first meeting through marriage to his death and her widowhood). The end of life is the subject of William Bolcom’s trio piece ‘Let Evening Come’, which sets the texts of three female American poets: Maya Angelou, Emily Dickenson and Jane Kenyon.

The second half of the evening features a performance of the Francis Poulenc/Jean Cocteau collaboration ‘La Voix humaine’, an emotionally powerful monodrama presented as one side of a telephone conversation between a suicidal woman and her ex-lover. The piece explores the nature of fear, depression and nervous exhaustion that obsession, rejection and the loss of a lover can bring on. Poulenc, who had himself experienced the pain of separation wrote: ‘I’m writing an opera – you know what it’s about: a woman (me) is making a last telephone call to her lover who is getting married the next day.’ As the woman attempts to disguise her despair and panic with superficial chat, Poulenc’s music expresses her true state as she verges towards a mental breakdown. Performed by London soprano Eleanor James and pianist Maya Soltan, this version of the piece was directed by P.J. Harris (who’s worked with Scottish Opera and Opéra National du Rhin).”

Here’s the Amalie Trio introducing themselves:

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More on the Gnod weekender next time…
 

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