A rare event with a unique artist, specialist baritone Thomas Buckner will be talking about his collaborations with composers Robert Ashley, David Wessel, Annea Lockwood, Alvin Lucier, David Behrman and Phil Niblock.
Monday 24 November 17:30
Room ANTR 109, Antonin Artaud Building
Brunel University, UB8 3PH
Free admission – all welcome
Everything (almost) you wanted to know about contemporary British string quartet literature can be found in the recently published Some Recent British String Quartets by Christopher Fox published here by the Contemporary Music Review.
Quoted directly from the latest update by the unique London Club Inegales:
“This is a Rolls-Royce of a Band – it can turn on a dime”
Will Self on house band Notes Inégales
Next Thursday to Sunday, Club Inegales welcomes four stunning international guest performers as part of the EFG London Jazz Festival, each at the forefront of new jazz – the electric Byron Wallen (20th) – then Norwegian power guitar Hedwig Mollestad Trio (21st), hot Amsterdam band Cactus Truck (22nd) through to the beguiling Swiss voice and drums of Andreas Schaerer and Lucas Niggli (23rd).
Alongside their own set, the guests will perform with Peter Wiegold’s resident top-line ensemble Notes Inégales creating the unique musical alchemy that makes Club Inégales unlike any other.
Click here for more info and tickets -> EFG London Jazz Festival.
CCMP seminar with Cora Schmeiser at Brunel University London, Thursday 20 November on Thursday 20 November 17:30, Room ANTR 109, Antonin Artaud Building
Plus this jewel of a concert program the following day as part of the Arts Centre Lunchtime Concert Series:
CONCERT: Friday 21 November 13:10
Roberts Room, Floor 3, Lecture Centre
With special guest Richard Craig, bass flute
Laus trinitati – Hildegard von Bingen (1098 – 1179)
Ich spür ain tier – Oswald von Wolkenstein (1367 – 1445)
Ursonate – Kurt Schwitters (1887-1948)
Cant l’erba fresq’e.l fuelh apar- Bernart de Ventadorn (c. 1135 – 1200)
Deux méditations d’une furie for voice and bass flute - John Croft (1971)
Can vei la lauzeta – Bernart de Ventadorn (c. 1135 – 1200)
Récitation 8 – Georges Aperghis (1945)
Worldes blis – Anonymous, England (13th cent.)
Eurydice for solo flute – Brice Pauset (1998)
If I were a poet – Beth Anderson (1950)
Veritas veritatum – Philipp der Kanzler (c. 1165 – 1236)
Both events free – all welcome
Institute of Composing is hosting a series of seminars called So you want to get funded? The first one, Primer on getting new work funded with a focus on ACE applications, starts Wednesday the 12th of November at Club Inégales. Among the expert panel members and hands-on support from Arts Council officers and experienced practitioners will be Peter Weigold — Director, Institute of Composing (Chair) and Tom Betteridge – Head of Department of Arts and Humanities, Brunel University London. The seminar is free but you should register here -> Seminar Series.
Primer on getting new work funded with a focus on ACE applications
Wednesday 12 November, 7.30pm-9.30pm Club Inégales
They’re back, those three musicians very close to Brunel Music in so many ways, with Manefesto. There is the pop-up exhibition in Falmouth and a concert you can catch this Friday at JdP in Oxford. Here is the blurb: MANIFESTO captures the vibrancy and immediacy of manifesti, from Futurism in 1909 to 1960s Fluxus. Vocalist Loré Lixenberg, laptop artist Federico Reuben and Aleks Kolkowski on wax cylinders and horns bring the texts alive musically, highlighting their ground-breaking and sometimes shocking nature. A pop-up exhibition of rarely seen and exciting artefacts including manifesto tracts, original scores, sound poems and photographs, as well as artworks by the manifesto authors, features alongside the performance.
Friday 7th November at 8pm
Futurism Concert – MANIFESTO
Loré Lixenberg (Soprano) with Federico Reuben (Electronics) and Aleks Kolkowski (Percussion)
It’s not every day you get a chance to see/hear Philip Glass performing Philip Glass, but he is on something of a UK tour (well, Manchester and Basingstoke in November) performing with the Philip Glass Ensemble Retrospective. This is billed as “a kind of partial ‘Greatest Hits’ that revisits some of Philip Glass’ most important and popular works. They include the Cologne Section from CIVIL warS (1984), created for an unrealised Robert Wilson project for the Los Angeles Olympic Games; excerpts from the seminal Music In 12 Parts, which resonate alongside key works from the 1980s including the last act of his chamber opera The Photographer, and music written for Godfrey Reggio’s cult film Koyaanisqatsi. Music in Similar Motion, dizzying and determined, takes the story back to 1969.”
Christopher Fox, writing in the 7th November 2013 issue of The Guardian, described his personal experience in attending a performance of this very ensemble presenting the, now classic, Music in Twelve Parts (1971-74) on another November night, though in Liverpool… in 1975. A notable (and eminently quotable) recollection can be found in the middle of the article: “It was the aural equivalent of standing at the top of a giant waterfall, mesmerised by the illusion that such a rushing body of water could also appear so stable, so even. At a time when most new music was neither even nor fast-flowing, it was important to be reminded of how powerful and effective these qualities could be.” There are many good things to be read in the article here -> Glass’s Music in 12 Parts – but the audience was just as small.
Mercury Prize nominated folk singer Sam Lee will be performing at Club Inégales next Thursday the 6th November. His elegiac, elegant music has rightfully earned him a great following. We will make new versions of some of his songs with him, including taking off with our own improvisations.
As ever, it’s Notes Inégales with Peter Wiegold, then Sam – featuring his first ever solo performance – and then all together, tonight especially featuring violinist Max Baillie.
Food from 7pm | Music from 8pm
John Croft will be talking about composing and collaboration in the first research seminar of the season at at Trinity Laban.
Let’s get Creative: Questioning Collaboration and Practice-as-Research
In academic and arts funding circles, composing – ‘mere’ composing – has become unfashionable. It has yielded to an over-emphasis on notions of collaboration, ‘border crossing’, and nebulous definitions of practice-based research that replace aesthetic originality with innovation in format or working method. This seminar will consider the possible sources of this fixation, including the culture of accountability, the adoption of business ideology in arts organisations and academia, the persistence of questionable ideas such as ‘brainstorming’, the ‘mash-up’ theory of creativity, and – more fundamentally – the assimilation of composition to ‘research’. These have given rise to a situation where what is peripheral tomusic is treated as central, and music as a domain of thought in its own right disappears under aims, objectives, strategies, and milestones.
5 November 2014, 17.15-18.15 in the Lecture Theatre, Laban Building and are followed by drinks in the Laban Bar – all welcome!
Posted in John Croft
If you missed the Jennifer Walshe performance of The Total Mountain (2014) in the Donaueschinger Musiktage 2014 “Musiksprechen” concert last week, you can catch the concert by following the link here and jumping to about 1:13 into the broadcast by SWR -> Musiksprechen. Germanophones will be spoiled by the introduction which includes another work, Your Momma, for solo voice (the actual work starts at around 1:26 with German commentary). There is also an interview with the composer/performer on her work in the link below. Enjoy.
We couldn’t let this one go by without a couple of words… Over the summer months, Jennifer Walshe was keeping busy with new pieces and… boxing. In fact, just before the Women Box part of the Tête à Tête Opera Festival at King’s Cross in which Walshe’s Training is the Opposite was performed, and under the Women in Business topic in the August 1 edition of the Financial Times, there is a long writeup about the Irish composer by Laura Battle you can read by clicking the picture above or the link here -> Jennifer Walshe: music that packs a punch.