Tag Archives: Sefiroth

February-March 2018 – music and more from across the European borderlands and migrations, as part of the ‘Marchland’ performance season in London (various dates between 7th February and 3rd March) including KultNett, Sefiroth, Carneval String Trio, Åkervinda, Nikos Baroutsakis, Maiden In The Moor, Shiry Rashkovsky, Fran & Flora and Bardos Band…

1 Feb

Sprawling out over a long month between early February and early March, Théâtre Volière’s Marchland performance season will transform the City of London’s Bridewell Theatre into a recreation of “a secluded European theatre” aiming – via discussion and performance, music and acting, photography, discussion and art – “to explore what it means to be European today… everything that is good and bad about the human response to being pushed up against “otherness”…. (to) come together to share and unpick these European stories in an attempt to answer the question, “how do we live together?”…” Slipping in under the frowning threat of a hard, bruising Brexit and the rising of surly, xenophobic British fences, it’s a welcome and timely thing.

In principle, ‘Marchland’ is theatrical. Threaded through the season are performances of Volière’s own ‘Arnika’ dealing with the corrosive effects of dreadful secrets and guilt, post-Nazi occupation, in an Alsace town (exemplifying “the tragic choices forced on a border community trapped in a cycle of international vengeance” and of its quadralingual companion piece ‘Retour au pays‘, “exploring the multi-lingualism of border regions and its effect on their cultures” via the story of Alsatian poet Andre Weckmann and his journey – as a forced military draftee – through the Wehrmacht, the Russian front and the Free French). Also on offer are two pieces by La Soupe Compagnie: ‘Macao et Cosmage‘ (their headphone-driven children’s tale of colonialism – “part Japanese kamishabaï paper theatre, part pop-up storybook” – performed in a tiny twelve-person booth), and their poetry-and-puppetry-incorporating ‘Evocation’, a transposition of ‘Pierrot Lunaire’ (Albert Giraud’s Symbolist poem-cycle of conscious, candid estrangement and displacement) to a Victorian-era Brighton Beach where it’s fed through the experience and cyclic memories of a traumatised young female refugee (scored by electro-acoustic composer Antoine Arlot). There’ll also be a festival-spanning interactive attempt (featuring the combined efforts of Marchlands artists and audience) to create and represent a borderland country of the imagination.

Yet – point for point and performer for performer – the majority of the festival is musical, bringing together a fascinating sweep of players from across Europe and interspersing them with British musicians exploring transcontinental roots and history (whether these are their own – as in the case of British-based Sephardic ensemble Sefiroth – or where their curiosity, studies and sympathies have led them.

Here’s a breakdown of the musical events, condensed from various bits of the programme text.

Carneval String Trio

Carneval String Trio

Carneval String Trio (made up of violinist Kamila Bydlowska, viola player Shiry Rashkovsky and cellist Timothée Botbol) have created a fascinating programme of twentieth-century music for us. Vanished kingdoms and shifting borders here, in an Eastern Europe where identities and allegiances were torn apart under the most savage circumstances imaginable.

“They’ll be playing pieces by Zoltán Kodály, Ernő Dohnányi and Gideon Klein, works that shock and mesmerize in equal measure. Each of these composers used folkloric themes to express their unique national identities, and yet these identities were rewritten for them many times as borders shifted and ideologies fought over their homelands. This is music that challenges us to ask “what is left of our identity when it is warped and usurped by the forces of nationalism?”

“The cultural and political history of the former Yugoslavia features large in this year’s ‘Marchland’. Greek guitarist Nikos Baroutsakis joins the conversation with a recital of music from the Balkans and the wider region, where Europe meets the Middle East. He’ll be playing pieces inspired by the folk culture of Armenia, the Balkans (including the former Yugoslavia) and Turkey.

“Carlo Domeniconi’s Variations on ‘Uzun İnce Bir Yoldayım (I’m On A Long Narrow Road)’ – a Turkish folk song of pain and suffering – opens the programme. It is followed by four traditional Armenian dances arranged for guitar by Iakovos Kolanian. Finally, a rare performance of Dusan Bogdanovic’s ‘Six Balkan Miniatures’, composed for and dedicated to, world peace during the Yugoslavian Civil War.


 
Fran & Flora are cellist Francesca Ter-Berg and violinist Flora Curzon. BBC Radio 3’s Late Junction described them as fiercely passionate and a string duo bound for glory, and that says it all about their approach to music making and their musical influences. For ‘Marchland’, they will be exploring musical styles from Eastern Europe, and how they are influenced by ongoing exchanges and tensions across borders and migrating communities. Expect soulful laments, exquisite songs, irresistible dance tunes, and tales of their musical adventures as outsiders intent on incorporating traditional music-making into their own, unique style.


 
“In addition, they’ll also perform in a double bill of music and conversation with Nikos Baroutsakis (extending their programme, their distinctive music-making interspersed with anecdotes and insights from their musicological travels in the Balkans) and, in another event, pairing up with Alex Batesmith’s dramatised talk ‘Blackbirds and Blue Helmets’ (about his experiences as a UN war crimes prosecutor in Kosovo and his travels in the former Yugoslavia).

Bardos Band

Bardos Band

“We were keen to programme work for ‘Marchland’ that explores the way culture is transformed as it crosses borders. ‘The Oak of Two Greens’ (from mediaeval music specialists Bardos Band, combining the talents of Sophia Brumfitt, Rebecca Austen-Brown, Corinna Silvester, Arngeir Hauksson and Leah Stuttard) shows us that this is an ancient and ongoing process.

“This is a melting-pot of rare and deeply-affecting music, woven around an ancient folktale. A resourceful harper charms his audience to sleep in order to steal their magical harp – The Oak of Two Greens. The harp belongs to the king of the Tuatha da Dannan; a legendary tribe which, according to legend, brought music to Ireland. Bardos Band follow the route this music might have travelled, using voice, harp, medieval fiddle, gittern, flutes and symphony to create an enchanting wash of sound.”

(Unfortunately, I couldn’t find any embeddable examples of the Bardos’ treatment of ‘The Oak Of Two Greens’, but it’s close enough to Christmas for me to offer you this…)


 
“The Bardos Band’s Sophia Brumfitt and Leah Stuttard also make up the early-music due Maiden In The Moor. For their own ‘Marchlands’ performance they’re reviving the music of Occitania, a vanished kingdom that once straddled Southern France and Northern Spain.

Maiden In The Moor

Maiden In The Moor

“The Occitan Troubadours sang of loyalty, love and longing, and their language and music survived through travelling poets and illuminated songbooks long after their culture was devastated by the Albigensian Crusade. Their work had a profound influence on European music and culture, and echoes of it can be heard in lieder, folk music, and the work of the singer-songwriters of our own time. The programme includes Troubadour and Trouvère songs, songs from the courts of Aquitaine and the Languedoc, and Spanish pilgrim songs.”

(Although there’s not much Maiden In The Moor material online, here’s an example of Occitan songcraft…)


 

“Norway’s KultNett bring together some of the foremost folk musicians and storytellers from beyond the Arctic Circle to examine the history of the peoples of Northern Norway, Sweden, Finland and Sápmi, the land of the Sámi people. Storytelling, a fast and furious fiddle and the traditional ‘joik’ of the Sámi are interwoven to create a performance that explores and interrogates the dynamics of cultural and ethnic hegemony in the Nordic region of Europe.


 

Ignacio Evangelista: 'After Schengen'

Ignacio Evangelista: ‘After Schengen’

“Adapted especially for Marchland and illustrated by a multi-media presentation, this is a truly immersive experience; a rare insight into a rich and vibrant borderland culture from the Northernmost reaches of Europe. They’ll also play in a separate double bill with Bardos Band, presenting an extended version of their Marchland programme.

“Inspired by Ignacio Evangelista’s photography sequence ‘After Schengen’, we brought together three artists to create an interdisciplinary event, ‘Before and After Schengen’, exploring the politics and the poetry around notions of the vanishing border.

Shiry Rashkovsky

Shiry Rashkovsky

“In front of a screening of his work, Ignacio will be talking about his fascination with Europe’s disused border posts. His talk will be interwoven with poems by Hungarian-born poet George Szirtes, written in response to Ignacio’s images and read by George himself. The whole will be framed by a unique performance of musical fragments and improvisations devised by Carneval String Trio violist Shiry Rashkovsky (also an associate member of the Philharmonia Orchestra).

This is a truly international collaboration that encapsulates perfectly the spirit of ‘Marchland’). Expect to find yourselves pondering the ephemeral and often arbitrary nature of borders. ‘Before and After Schengen’ will also be performed as a separate double bill with another extended performance of Kultnett’s ‘Sound of the Arctic’.


 
Sefiroth is an international collective of musicians founded by brothers Nick and Alex Roth to explore traditional Sephardic repertoire. music from the descendants of the Jews who left Spain or Portugal after 1492. Sung in Ladino (a language primarily spoken by Sephardic Jews), these ancient songs weave stories of love, loss and yearning for home, and evoke the lands where the diaspora settled: Iberia, the Mediterranean and the Middle East.

“The group’s arrangements are as porous and wide-ranging as the history of the Sephardim, combining acoustic and electric instruments, improvisation, modern harmonies and trance-inducing rhythms. They’ll also be performing separately alongside Maiden In The Moor in a double bill; setting the revived music of a vanished culture alongside the living, evolving traditions of a banished people.


 
“Sweden and Denmark’s Åkervinda perform their unique, modern Scandinavian folksongs. Jazz singers at heart, and influenced by artists such as Björk and The Real Group, they share a deep love of folk music. Through improvisation, they breathe new life into traditional songs, singing stories of women through the ages in a programme of haunting harmonies and dazzling improvisations inspired by women’s history and the shifting populations of Europe. Their appearance at Marchland marks the opening of a UK tour and the release of their latest album. They’ll also be performing in a separate double bill with Maiden In The Moor.


 
“What can we say about our show ‘A Vanished Kingdom’? Not much, since it’s actually mostly your show and you’ve yet to devise it! Come and help make a season-long, open-access interdisciplinary event to be presented on the closing day of the season.

“On three consecutive Saturdays we’ll be meeting to create our own Vanished Kingdom – an imaginary borderland with its own culture, geography, history, language… All devised by you. If you’re a visual artist, writer or performer, if you’re someone who wants to share ideas in a supportive and respectful environment, if you’re someone who enjoys playing and make believe, then join us and artists from the Marchland season to help make something truly unique. You are welcome to come and go as you please for the duration of each workshop, and even to just quietly observe the controlled chaos! It’s completely free to participate.

On the 3rd March, we’ll be presenting the audience with a free ‘Vanished Kingdom’ event featuring the stories, songs, dances, artwork, history, geography of a European borderland of our participants’ collective imagination. As an opener to the presentation, there’ll be another chance to hear a performance by Åkervinda (giving us their perspective on women’s history and cross border co-operation) plus a one-off set from three members of Sefiroth (Alex Roth, Alice Zawadzki & Olesya Zdorovetskay).

“Expect, perhaps, robust and lively debate about the tensions between regional identity and cross-cultural fertilisation, absurd flights of fancy and charming anecdotes, and a rich tapestry of differing viewpoints and traditions. Looking forward to meeting you at the crossroads!”

All events are at The Bridewell Theatre, 14 Bride Lane, Blackfriars, London EC4Y 8EQ, England. Dates are as follows.

Single concerts:

  • Carneval String Trio – Wednesday 7th & Wednesday 14th February 2018, 1:15pm
  • Nikos Baroutsakis – Thursday 8th February 2018, 1:15pm
  • Fran & Flora – Friday 9th February 2018, 1:15pm
  • KultNett’s ‘Sound of the Arctic’ – Friday 9th February 2018, 7:30pm; Tuesday 13th February 2018, 1:15pm; 16th February 2018, 1:15pm; 17th February 2018, 9:00pm
  • Bardos Band’s ‘The Oak of Two Greens’ – Monday 12th February 2018, 1:15pm
  • Before and After Schengen – Thursday 15th February 2018, 1:15pm
  • Sefiroth – Friday 16th February 2018, 7:30pm; Saturday 17th February 2018, 2:00pm; Friday 23rd February 2018, 7:30pm
  • Maiden in The Moor – Wednesday 28th February 2018, 1:15pm
  • Åkervinda – Friday 2nd March 2018, 1:15 pm

Double-bill concerts:

  • Nikos Baroutsakis + Fran & Flora – Saturday 10th February 2018, 2:00pm
  • Bardos Band’s ‘The Oak of Two Greens’ + KultNett’s ‘Sound of the Arctic’ – Saturday 10th February 2018, 7:30 pm
  • ‘Before and After Schengen’ + KultNett’s ‘Sound of the Arctic’ – Thursday 15th February 2018, 7:30 pm
  • Alex Batesmith’s ‘Blackbirds and Blue Helmets’ + Fran & Flora – Tuesday 20th February 2018, 7:30 pm
  • Maiden in the Moor + Sefiroth – Thursday 22nd February 2018, 7:30 pm
  • Åkervinda + Maiden in The Moor – Thursday 1st March 2018, 7:30 pm

‘A Vanished Kingdom’:

  • Free-entry workshops – Saturday 10th February 2018, 9.30am; Saturday 24th Feburary 2018, 2.00pm, Saturday 3rd March 2018, 10.00am
  • Presentation concert (plus pre-concert performances by Åkervinda + Alex Roth/Alice Zawadzki/Olesya Zdorovetskaya) – Saturday 3rd March 2018, 2:00 pm


All further details at the festival website, the Marchland Facebook page and the Bridewell event pages, with blogging here throughout the course of the season.
 

Marchland logo
 

December 2016 – upcoming London gigs – Sephiroth’s Alex Roth, Alice Zawadzki and Shirley Smart head up the bill at a Play for Progress refugee charity show (2nd); an early December soiree from Society of Imaginary Friends with Her, Kirsten Morrison, Peter Shipman, Jed Demochowski and others (2nd); the first free seasonal family helping of cuddly pop, folk, punk, electronica, choirs and dancing from Daylight Music’s Fuzzy Feeling (School Of Noise, Hackney Secular Singers Choir, Laura J Martin, Enderby’s Room, Whoa Melodic, The Action Men and Spaceship Mark – 3rd)

1 Dec

The first of the seasonal gigs are crossing my radar. So far, rather than just being bloated blowouts, they’re embodying and communicating ideas of support, communality, resistance (in some respects), humour and what Arctic Circle call “that fuzzy feeling”.

This probably sounds as loose and woolly as the old jumper you’ve just dug out from the back of the drawer – but at a time when we’re ducking or getting enmired in Twitterstorms of hateful, sleety 2016 bile, a little of that doesn’t go amiss. Better to be a snowflake than a mean hacking cough, I reckon.

So here we go…

* * * * * * * *

Play For Progress present:
Play For Progress Fundraiser: Alex Roth/Alice Zawadzki/Shirley Smart + others
The Albany Pub, 240 Great Portland Street, Regent’s Park, London, W1W 5QU, England
Friday 2nd December 2016, 6.30pm
– information here and here

Play for Progress fundraiser, 2nd December 2016 The guitar playing and general musicality of polymathic composer/improviser Alex Roth has graced Blue Eyed Hawk, Otriad and, most, recently, experimental fusion guitar trio Future Currents (as well as the repertoire of assorted contemporary classical ensembles). The work of Alice Zawadzki covers a similar number of bases – jazz singing; classical violin; original songs; the exploration and interpretation of a bevy of inspirations including folk and folklore, poetry, the music of New Orleans and of Joni Mitchell. Improvising cellist Shirley Smart originally studied classical music in London and Paris before immersing herself in jazz and Middle Eastern music during a long cultural sojourn in Israel, soaking up the stew of Hebrew and Arabic roots music and Western art music which has informed her projects ever since ( Sound Of The Ground, Melange, Sawa Trio).

Sharing a common Sephardic Jewish heritage, all three musicians are regular collaborators within the ten-strong Sefiroth, a Sephardic Jewish electro-acoustic chamber ensemble. They’re getting together for a trio performance in Marylebone this Friday, playing a selection of Sephardic ballads as part of a fund-raiser supporting Play For Progress (a charity delivering therapeutic and educational music programmes to children who are victims of conflict and war).

Also promised for the Friday fundraiser bill are “saucy jazzers, the best dad band you’ve never heard, duelling violins with electronics, a Scottish trad/ceilidh band, and a sweet voice with a sultry harp.” I’m not sure who any of these other people are – the event’s being publicized as a concert which is about community rather than names. Assuming that the Sephirothers are setting the bar for quality, it’ll all be worth seeing. For an example of Sephiroth in full flow, see below.


 
* * * * * * * *

'We Don't Need This Fascist Groove Thangg', 2nd December 2016

I have *no idea* what this has to do with proceedings…

Society Of Imaginary Friends present:
‘We Don’t Need This Fascist Groove Thang!’: Society of Imaginary Friends + Kirsten Morrison + Peter Shipman + Her + Jed Demochowski + Martin Wakefield + Nighmar Askouski + DJ Ontjdrew DJ set
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London N22 6UJ, England
Friday 2nd December 2016, 8:00pm
– free entry – information

On the same night as the Play For Progress event, Society Of Imaginary Friends are hosting another in their series of music and poetry soirees up in Wood Green at vegan restaurant Karamel, with their usual boho-insurrectionary feel, sounding off as if the revolution’s already happened, with an arts café on every corner and democracy becoming a constantly active roots-up ferment. The stage is set for an evening of poets, Bolan-ista power-pop transformationalists, members of Eclectic Opera, plus the Society’s own expansive art-pop-prog-chanson-etc. (Bring yer own hyphen.)

“We’re in a feisty festive mood, comrades. Ready to man the cortical barricades. Love is good, good, good! Let the bells toll our message across hill and dale… To help you celebrate the end of oppression we have the virtuosic, stratospheric soprano and Lene Lovich’s right hand girl Kirsten Morrison – she will be joined by the magnificent counter-tenor Peter Shipman. What is more, we are featuring the punk Goddess, Her (aka Julie D. Riley); singing his beautiful songs will be lead singer of the VIPs and now charted soloist, the extraordinary Jed Demochowski; performing his intensely gripping poetry, Martin Wakefield; Nighmar Ascousky has something of the night for us; and to groove into the burning night we have the one and only DJ Ontjdrew. Society Of Imaginary Friends will be doing what they do. Plus some surprise guests…”

For more about the Society, have a read of my preview for their last show here. As was the case then, I’m unable to get the full skinny on everyone involved, but here’s a clutch of videos and soundclips relating to the upcoming show (including one of Peter Shipman being upstaged by a dog…)





 
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That Fuzzy Feeling, Part 1, 3rd December 2016Featuring “seasonal surprises that are guaranteed to give you a Yuletide glow”, the last Daylight Music concerts for the year excel at being unashamedly cuddly and kid-friendly: not just the harbouring church atmosphere of the Union Chapel, but the laying on of hot chocolate, mince pies and face painting and “a guest appearance by a certain scarf-wearing snowman.” In parallel to all of this, though, there’s the usual thoughtful and intricate Daylight musical overlay, sneaking crafted contemporary folk and pop, classical music, accessible avant-garde experimentation and a little punk rock into the family proceedings.

Arctic Circle presents:
Daylight Music 241 – That Fuzzy Feeling Part 1: School Of Noise + HSS Choir + Laura J Martin + Enderby’s Room + Whoa Melodic + The Action Men + Spaceship Mark
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 3rd December 2016, 12:00pm
– free event (suggested donation: £5.00) – information

Top position on the first of these (on Saturday 3rd) is taken by a School Of Noise showcase (the performance result of sound workshops encouraging young people and adults towards creativity and experimentation with noise and sound, in which both students “create music, conduct orchestras of food, build analogue synthesisers, record sounds to film, learn about acoustic ecology, and compose original experimental sound art.” The Daylight taste for alt.choral is covered by the Bethnal Green-based, mixed-ability punk-rock-loving Hackney Secular Singers Choir.



 
Laura J. Martin put in a Daylight appearance back in September, singing oblique state-of-the-nation folk songs from a personalised perspective of disconnection, blandification and gentrification; the potentially glum subject matter warmed up by her sweet manner, inquisitive multi-instrumental musical diversity and Liverpudlian outlook (an elliptical wit, plus a reluctance to take authority as given). With a debut single scheduled for early next year, indie-folk quartet Enderby’s Room marshal guitar, ukulele, banjo, omnichord, French horn, harmonium, accordion and double bass under three voices; juggling the hooded delicacy and mood mastery of Low-esque sadcore with the uplift, bubbling rhythms and storytelling impetus of British and American folk music. Here they are playing on board a rumbling steam train.

Whoa Melodic is Michael Wood, who previously played bass and piano and sang in Singing Adams before going on to solo alt.pop work as Michaelmas. Associated with the …. label, Michael’s also worked with The Leaf Library, the Hayman Kupa Band and last year’s ‘A Girl & A Gun’ James Bond tribute. The new work under the old name is an extension of ongoing ideas, and Michael half-promises to deliver some old Michaelmas favourites in his set.


 
The show’s rounded off by a performance by politi-comical Dada-masculine dance troupe Action Men and by an appearance by School of Noise sound collector, film maker and educator Mark Williamson, returning in his solo guise as Spaceship Mark (for which he travels out to sites of specific or conceptual interest in order to record on-the-spot improvised music – previous and ongoing choice sets have included abandoned Royal Observer Corps posts, traffic blackspots and the former Kelvedon Hatch nuclear bunker). He’s bringing a project called ‘Null’… and there the mystery begins.




 
More on the second Fuzzy Feeling show in due course…
 

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