Tag Archives: Vivienne Bellos

April 2016 – upcoming gigs – Project Instrumental’s 21st century string quartets and Julian Dawes’ Passover cantata in London: Britten Sinfonia tours Bartok, Schumann and a new Bryce Dessner work across the east of England.

29 Mar

On the first day of April, Project Instrumental offer another performance of their current twenty-first century string quartet programme:

Project Instrumental, 2016

Late Shift @ NPG presents:
Project Instrumental
National Portrait Gallery, St Martin’s Place, Westminster, London, WC2H 0HE, England
Friday 1st April 2016, 6.30 pm
– free event – more information

“Described as “simply knockout” (Alex Julyan, Wellcome Trust Fellow) and selected as a Time Out London Critic’s Choice, Project Instrumental brings thrilling performances to unbounded audiences. Instrument-inspired, rather than genre-led, the group evolves around a core of strings and what can be done with them, across genres and instrumental combinations, to create truly enlivening performances, for anyone. Bold, imaginative and boundary defying, this virtuosic group strips back the peripherals with their straightforward contemporary approach to, to create not just concerts, but experiences.”

Programme:

Thomas Seltz: String Quartet No.1
Joby Talbot: String Quartet No.2
Nico Muhly: Diacritical Marks

This concert is, for the most part, a repeat performance of Project Instrumental’s late February free appearance at the Southbank Centre. I’ll just requote from the preview that I wrote at the time:

“Though Project Instrumental haven’t made this explicit, all of the contemporary classical composers whose quartets are being played either originally stem from, or confidently dip into, a broad field of popular music. Nico Muhly has long been a byword for latterday classical/pop crossovers, balancing operas and contemporary music ensemble commissions with arrangements and co-writes for Grizzly Bear, Björk, Antony and the Johnsons and Philip Glass. Joby Talbot spent nine years playing on and expanding Neil Hannon’s chamber-pop songs for The Divine Comedy before moving on to a diverse compositional career of ballets, concerti, orchestral and choral works and madrigals (while still doing film scores and arrangement works relating to pop, such as his reworking of songs by The White Stripes for choreographer Wayne McGregor). Thomas Seltz, spent his teenage years recording and touring as a rock guitarist and songwriter with French rock bands (most notably TORO) before making the shift to classical composition at the University of Edinburgh from 2006. Since then, he’s maintained his interest in the classical/popular faultline, writing an electric bass guitar concerto (for the Scottish Chamber Orchestra and John Patitucci), ‘Awesome X’ (a comic opera about reality TV) and ‘Mandarin’ (a concerto written for Chinese erhu player Peng Yueqiang and Edinburgh crossover-chamber ensemble Mr McFall’s Chamber).


 

All four composers refuse to be pigeonholed either by their established classical reputations or by their current or past roots/impingements upon pop and rock, seeing it all as a set of disciplines between which they can step as they choose. Seltz’s quartet (completed only last year) documents and honours his musical history, in particular his transition from rock musician to contemporary composer, via rock-inspired “strong dynamic, rhythmic and melodic elements”. Talbot’s possesses a wheeling dovelike softness in its graceful minimal approach, while Dessner’s takes tips from Reich, Adams and Glass but explodes them with a hoedown vigour. Sidestepping his confessed anxieties regarding the emotional exposure of the form, Muhly’s is bookended by an emphasis on lively ticking mechanisms and accents, counterbalanced by a more rhapsodic (and possibly concealing) middle section.”

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Back during the February performance, the Project Instrumental string quartet performance had an additional piece in the programme – ‘Tenebre’, written by Bryce Dessner, who divides his time between playing and composing for rock group The National and working the classical music and high-art world: curating Cleveland’s MusicNOW New Music festival, performing as part of classical improvisers Clogs and generating a large number of pieces for assorted classical ensembles. Although Project Instrumental might not be playing his work this month, a new Dessner composition is the centrepiece of the latest Britten Sinfonia At Lunch tour, which is on the road a little later in the month:

Britten Sinfonia presents ‘At Lunch Four’

Bryce Dessner (photo by Shervin Lainez)

Bryce Dessner (photo by Shervin Lainez)

Programme:

Béla Bartók – Selection of Duos
Bryce Dessner – EL Chan (world premiere tour)
Robert Schumann – Piano Quartet in E flat major, Op.47

Performers:

Thomas Gould (violin)
Clare Finnimore (viola)
Caroline Dearnley (cello)
Huw Watkins (piano)

“Bryce Dessner, known to many as the guitarist from The National, has been leading a double life as a prolific composer and curator in the realm of creative new music. His music, marked by a keen sensitivity to instrumental colour and texture, features in this hour-long programme alongside Bartok’s folklore-inspired pedagogical Duos and Schumann’s ever-popular Piano Quartet.”

The London gig includes a pre-concert discussion between Bryce Dessner and Dr Kate Kennedy at 12.15pm (free, but places must be booked in advance); the Cambridge gig includes a 2.15pm post-concert discussion led by a member of the University of Cambridge’s Faculty of Music (free to ticket holders). More information here.

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At around the same time, London sees the premiere of a new work by British composer Julian Dawes (who recently had a retrospective concert of his work performed at The Forge). As with much of Julian’s work, it draws on Jewish themes and is performed by several outstanding British-Jewish musicians: in addition, it’s being performed at one of London’s most culturally-enthused and artistically open synagogues:


New London Synagogue presents:
Julian Dawes: ‘Pesach Cantata’
New London Synagogue, 33 Abbey Road, St John’s Wood, London, NW8 0AT, England
Sunday 10th April 2016, 7.30pm
more information

Pesach Cantata, 2016Set from a libretto by Rabbi Roderick Young, ‘Pesach Cantata’ is a new cantata for soloists, chorus and chamber ensemble in which the story of Pesach (Passover) is told by a grandfather to his grandchild, and which includes three other characters, Miriam, Aaron and Rabban Gamliel.

Performers:

Cantor Jason Green – Grandfather
Z’ev Green – Grandchild
Martha Jones – Miriam
Mark Nathan – Aaron
Julien Van Mellaerts – Rabban Gamliel
The New London Singers
The New London Chamber Ensemble
Vivienne Bellos – conductor

There’s a short ‘Pesach’ excerpt below:


 

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Coming up – news on the first Facemelter of the month, and more…
 

January 2016 – upcoming gigs – Kiran Leonard’s UK mini-tour; Laura Cannell plays Liverpool, Glasgow and Bradford (with In Atoms, Jozef van Wissem, Magpahi and Stephanie Hladowski); in London, a Julian Dawes fundraiser at The Forge and an Ichi show at the Harrison; in New York, Legs play the Manhattan Inn and Rough Trade NYC with Blank Paper, Tropic Of Pisces and SKP (Lip Talk, Cosmicide). And Tom Slatter doesn’t play Brighton, yet…

10 Jan

Born in Oldham, currently Saddleworth-based, but occupying a wayward and exciting multi-instrumental/multi-genre orbit (which takes in, among many others, Todd Rundgren, spangled electronica, Dirty Projectors, Van Morrison and Nancy Chodorow) teenage wunderkind turned twenty-year-old psych-pop pioneer Kiran Leonard embarks on a quick British tour this coming week. For a sampling of what’s on offer, have a listen to Kiran’s most recent single, which examines the panicked, unwilling misogyny of pubescent boys and uses it as a launchpad for sixteen minutes of charging, spontaneous-sounding twist-and-turn musical quest. Spattered with snippets of radio, cut’n’paste ADHD changes and lo-fi turnarounds, it sounds like Lou Reed and Jim O’Rourke grappling over the steering wheel of a gawky teenage Yes.

For the tour, Kiran’s four-piece band features three other flexible Manchester music luminaries. Guitarist Dan Bridgewood Hill also plays as dbh and with NASDAQ, Irma Vep Band and Seatoller), bass player Dave Rowe is from Plank and Andrew Cheetham drums with acts including Desmadrados Soldados De Ventura, Easter, Butcher The Bar, the Birchall/Cheetham Duo and experimental rock duo Yerba Mansa. Support across the dates comes, variously, from Yerba Mansa, introverted Manchester singer-songwriter Tom Settle, Marc Rooney (taking a solo break from his usual band, Glaswegian “past post-modern bug-eyed beatniks” Pronto Mama), Edinburgh rock juveniles Redolent and inventive Sussex girl duo Let’s Eat Grandma.

Something of what to expect from the support bands is below:




This gig info was added to the top of this post at the last minute, and these gigs are selling out fast, so move quickly.

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The past week’s death of Pierre Boulez cast an overwhelming shadow over the classical and avant-garde worlds. Under that pall, it’s easy to forget that breed of composers that the post-war work of Boulez and his acolytes sometimes eclipsed – working at a humbler altitude, often inclined to traditional tonalism and craftsmanship and generally writing for the vast and undersung body of working musicians and small regional music groups, their work’s left out of the big conversations. It may break fewer boundaries, or no boundaries at all, but (to my mind, at least) it doesn’t necessarily have a lesser value. Not only does it often demonstrate an empathy for the musician over the concept, it demonstrates music’s quality of constant giving, showing that the older schemes which a younger and more intemperate Boulez once dismissed as being played out are anything but: revealing an ever-renewing, ever-fertile grain to be worked with and against even in well-mined territories.

To my ears, the work of Julian Dawes fits into this category. Five decades of his composing has produced chamber and keyboard music, theatre compositions, youth pieces, assorted works on Jewish themes (including Kaddish songs, Exodus cantatas and Holocaust pieces) plus an acclaimed mandolin concerto. All of it displays a lambent, empathetic feel for subject, performer and musician; and this coming Wednesday sees some of it compiled for a dedicated concert in London.

A Concert of Commemorative Music by Julian Dawes  (The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, England, Wednesday 13th January 2016, 7.30pm) – £9.00 to £12.00 – information & tickets

This is an evening of music which Julian has written to celebrate people and events. The night is also in memory of Emma Daly, and the proceeds of the concert will go to the Rosewood Chemo Ward at the Darenth Valley Hospital.

Programme:

Love Life and Lyric (for soprano and piano)
Reflection on Psalm 43 (for piano) – first concert performance
Homage (for string quartet)
Wedding Song (Louisa) (for soprano, violin & piano) – world premiere
Piano Sonata – world premiere
Bagatelle for a Wedding (for string quartet)
Songs from ‘The Song of Solomon’ (for mezzo soprano, tenor & piano)
String Quartet (slow movement)
Sonata for Violin and Piano

Performers:

The Holywell String Quartet
Vivienne Bellos, Helena Massip (sopranos)
Camille Maalawy (mezzo soprano)
Cantor Jason Green (tenor)
Sophie Lockett, Louisa Stuber (violins)
Mitra Alice Tham, Stephen Dickinson, Andrew Gellert, Alex Knapp, Julian Dawes (piano)

Soundclips of Julian Dawes’ music on the web are few and far between, but I’ve managed to dredge up these two videos – one of Cantor Jason Green performing one of Julian’s vocal pieces, and a low-key one of Julian talking about his work (on behalf of the publishing service Tutti). You can also listen to soundclips of some of his work at the page for Omnibus Classics’ release of his ‘Chamber Music’ CD.


Julian’s most recently completed project is ‘Pesach Cantata’ with a libretto by Roderick Young telling the story of Passover. This will be premiered at the New London Synagogue in April 2016: I’ll post about that closer to the time.

* * * * * * * *

There are a series of concerts coming up featuring East Anglian musician Laura Cannell. Playing a variety of instruments (predominantly straight or overbowed fiddle and double recorders, but also percussion and “other rarified wind instruments”, Laura fuses early and mediaeval music with a mixed ancient-and-modern approach to improvisation and to transcendent musical ceremony, taking fragments or inspirations from earlier sounds and melodies as the basis for exploration, illustration and linkages.


Laura will be playing up and down the country over the next few months at a variety of different events and locations, Each one has different musicians on the bill – Brooklyn-based Dutch lutenist and composer Josef van Wissem, who’s bringing the baroque lute out towards the worlds of experimental rock, folk and film; Liverpudlian tape-loop composer In Atoms whose “blissful and evocative” soundscapes and tones mix heath music and throbbing clubby sub-bass with the industrial and reveal him straddling Anglo-pastoralism and the European electronic grandeur of the Schultzes and Jarres; and two Yorkshire singers, Stephanie Hladowski (whose work stretches from reggae to traditional folk) and Magpahi (a.k.a. Todmorden based multi-instrumentalist Alison Cooper, who assembles a collage of folk song, fairy tale, Elizabethan poetry and dreamworld sonics from a variety of instruments and is inspired by “sepia stories, stray animals and recurring dreams of migration”).

Here’s the gig list, and something from each of Laura’s gigmates (including something quite rare from Magpani via the Was Is Das clubnight and promotions):





Laura has further gigs coming up later in the year, which I’ll also be posting about in due course.

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Born in Nagoya, (but now based in Bristol with his wife and collaborator, alt.folk singer Rachael Dadd) Ichi is paying London another visit with his truckload of invented instruments and mind-snagging riffs, digging a dayglo-lined tunnel between the avant-garde and a children’s playroom.

Ichi (The Harrison, 28 Harrison Street, London, WC1H 8JF, UK, Saturday 23rd January 2016, 8.00pm) – £11.00 – informationtickets

From the Harrison’s blurb:

Ichi takes the notion of a one-man band to new limits, combining his quirky handmade instrument inventions (stilt-bass, kalilaphone, balloon-pipes, hatbox-pedal-drum, tapumpet, percussion-shoes & hat-trick-hat) with steel-drum, ping-pong balls, toys & everyday objects all in the space of one short set. Somehow there’s an ancient, ritualistic feel to his performances – he’s like the misplaced leader of a tribe. To see Ichi live is to witness something so playful and unusual you know that you’re experiencing something entirely new. It`s fun, it`s danceable, it`s exciting…. Also a practicing and exhibiting artist and film-maker, Ichi is usually seen with a cine camera in his hand, or his hands rooting through Bristol skips for materials for his musical and sculptural inventions, or his hands in the earth making human sized interactive earth xylophones as he did at Bristol`s Forage Festival.

And where words fail, there’s always the video to Ichi’s recent single Go Gagambo, “a song about mistaken identity (gagambo is an insect unfortunate enough to be mistaken as a big mosquito, resulting in probable death by angry clapping hands)”.


* * * * * * * *

I’d been hoping to bring you news of London acoustic steampunk-prog hero Tom Slatter playing Britain’s first actual steampunk bar (the recently opened Yellow Book, which is squirreled away in the Lanes of Brighton and claims to have been founded by time-travelling Victorians). Sadly not. Message just in – “This gig has been postponed. Don’t go there expecting to see me on the 23rd! Do go there if you want to see the venue, which is lovely. I will be playing at the Yellow Book in the near future. Watch this space.”

* * * * * * * *

Lastly, there are a couple of New York gigs (this week and towards the end of the month) by a ‘Misfit City’ favourite of recent years, Brooklyn-based groove-pop band Legs, who mix irresistible New Wave dance grooves with twitchy emotional neurosis and a verbose, occasional waspish Steely Dan-esque approach to songcraft under the double-keyboard licks.

Legs + SKP (Hypnocraft @ The Manhattan Inn, 632 Manhattan Ave, Brooklyn, New York 11222, USA, Monday 11th January 2016, 8.30pm) – free event (suggested $5.00-$10.00- information

This pay-what-you-like gig is a Legs headliner, at which they’re supported by SKP – a.k.a. Sarah Kyle, frontwoman of Brooklyn psychedelic pop band Lip Talk. Sarah is also a member of recent Interpol tourmates Cosmicide, which features most of Lip Talk plus ex-Secret Machines leader Brandon Curtis.


Blank Paper + Tropic Of Pisces + Legs (Rough Trade NYC, 64 N 9th Street, Brooklyn, New York, NY 11249, USA, Friday 22nd January 2016, 8.00pm) – information here and heretickets

This latter one’s a bottom-of-the-bill show for Legs. Swings and roundabouts, but they can play on both. At least they get to perform at Rough Trade (should be a natural audience booster) and they also get to act as warm-up and gig primer for two other stylish and eminently compatible Brooklyn acts. Keytar-wielding Blank Paper mix up classic hip hop rhythms, distant glimmering-city synthpop tones and vocals with just the right degree of hauteur for detached explorations of love and obsession sheathed in immaculate tunes. Tropic Of Pisces is the new project from Mon Khmer/Oberhofer sideman Mathew Scheiner – his geeky white-boy solo funk seems to be inspired equally by glam, hip hop and South African township jive, though he himself describes it as “a warm, magical place that you must be special enough to have found.” Judge for yourselves below via the videos, with their ninja noir and tinfoil chic.


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More gig news next time, including shows by Of Arrowe Hill and Earl Zinger with the Emanative & Collocutor Duo; plus an appearance by Sealionwoman.

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