:: Alternative History


June/July concerts

Tuesday, May 14th, 2019

Just back from another trip to the Trollhättan Festival in Sweden. A drone strike at Frankfurt airport where I had to change planes on the way out caused complete chaos and I ended up running the length of the airport and just made it before they shut the door. Post-Brexit and without freedom of movement I wouldn’t have made it (and doing the gig at all may even have been just too much hassle). I’m sure anyone reading this in the UK will vote Remain on the 23rd…

Tampere Vocal Festival

At the beginning of June I’ve been invited to the 30th Tampere Vocal Festival, where I’ll be saying a few words at the opening of the ensemble contest exhibition. I chaired the jury for more than 20 of those years and it’ll be great to revisit the Manchester of Finland (now famous for skateboarding as well as singing and its Scottish heritage).

Concerts in the UK

Even though Jacob Heringman and I live less than fifty miles from each other we most often meet somewhere on the European mainland at an Alternative History gig (often Spain) to which he has travelled by train and for which I have blown the carbon on a plane. This month we’re being a bit more carbon neutral, beginning with the screening of Mark Burghagen’s Sacred King film for which we provided the music (and subsequently re-used for our own Brexit video). We then have four concerts in the UK: two with the Herschel Trio, one with Pellingman’s Saraband and a lutesong recital of our very own.

The first of these is on June 15th at the  Alwinton Summer Festival when we’ll be joined by Susanna Pell for a mix of old and new music including the winners of the Alwinton Composers’ Competition which we’ll workshop earlier in the afternoon.  Then on the 22nd we’re in Stanhope with the Herschel Trio:

and then on the 23rd we have a concert in York at St Olave’s church:

 

The programmes for these two concerts will feature a unique copy of the Queen Elisabeth Virginal. This exquisite instrument formed part of the collection of Queen Elizabeth I, and its decoration includes both the Royal Coat of Arms, and an image of a Crowned Falcon standing on a tree stump, hence our title.

A couple of weeks later, on July 6th we’ll be appearing in York again, this time in the Late Music series. This will be an all-20th/21st century programme and we’ll be repeating the winning piece from Alwinton as well as Jake’s transcriptions and arrangements of early twentieth songs by Warlock, Vaughan-Williams, Holst and others, together with some of the songs given to us by Tony Banks and Sting.

…and Portugal

On July 21st I’ll be at the Marvao Festival  for a rare foray into Mozart. I’ll be singing the Missa Solemnis K 337 with the Cologne Chamber Orchestra and Juliana Banse conducted by Christoph Poppen (with whom I recorded Hilliard Morimur album many years ago).  The next day David James, Jacob Heringman and I will be doing an extended version of the programme we did in Sheffield cathedral last year, based on Dufay’s L’Homme Arme Mass (at the  Igreja de Santa Maria / Museu Municipal, starting at 4.00.

After that I have a break until the Dobrs Festival in the Czech Republic in August. It’ll be a unique one-off with Milos Valent and Ariel Abramovich. More details in a while.

 

Details of these and other ECM-related concerts can be found on my page on the ECM site.

 

In darkness – the making of…

Friday, March 1st, 2019

To commemorate our REMA performance on Brexit Eve (March 28) Jacob Heringman and I persuaded Guy Carpenter to create a video to go with our recent recording of Dowland’s In Darkness Let me Dwell (originally recorded for Mark Burghagen’s Sacred King film).  The inspiration for the shoot was a session the three of us did last year at a ruined cottage high up in the Dales, and the plan this time was for us to walk along an appropriately Brexit-like cliff edge and arrive at the ruin where we would again burn our scores to keep warm in the post-Brexit landscape. The window of opportunity consisted of  a just a few hours of the one day we were all free, which miraculously turned out to be the hottest winter day ever with the most amazing light.

We walked for what seemed like hours through the heather, with spectacular views on all sides

as the sun got lower and more dazzling with each step

until Guy launched his drone.

We had to work quickly as the clock (Brexit-like…) ticked away, so  we set off on our cliff-edge trek into the sunset,

eventually arriving at our destination, where we lit the fire

and managed to get it all in the can before the sun sank out of sight

 

You can see the result on YouTube here

Projects for 2019

Friday, December 7th, 2018

In darkness…

My last event of 2018 was recording John Dowland’s In darkness let me Dwell with Jacob Heringman for Mark Burghagen’s film of the final soliloquy in Shakespeare’s Richard II launched in February  on the anniversary of the King’s death in 1400.  Dowland’s most melancholic piece  seemed not only appropriate for the Shakespeare but also for most of the likely Brexit scenarios. This Guy Carpenter photo of Jake and me in a post-Brexit landscape (burning our scores to keep warm) is the inspiration for a video that we’re making to coincide with our private valedictory performance to European early music promoters on Brexit Eve, which will use In Darkness as the sound track.

Alternative History

On February 15 the Alternative History ensemble got back together for gigs in Madrid (Amores Pasados) and Barcelona (an all-Josquin programme). It was a great start to what promises to be another busy Alternative History year  and the press loved both events:

Rompiendo barreras con “Amores pasados: de Dowland a Sting”, de Alternative History

Desprez en la intimidad

http://revistamusical.cat/critica/ars-perfecta/

The various fractals of the Alternative History project will also be busy, and I’ll be doing recitals with both Ariel Abramovich and Jacob Heringman. Jake and I have more UK gigs,including  John Casken’s Alwinton Summer Music, which will feature a composition competition for a new lute song. We’ll then repeat the winning entry in York’s Late Music series. John Casken wrote Sharp Thorne – one of the Hilliard Ensemble’s signature pieces – and it will be great to catch up with him again. Jake and I will also be doing concerts in York (including a special Brexit themed event on Brexit Eve for the REMA conference at the NCEM) and we’ll repeat our Dufay mass with countertenor David James in Portugal.

Bryars and Beyond

I’ll be doing Gavin Bryars’ Nothing Like the Sun in Hull in April and returning to Trollhättan for the TrollhättansTidig Musik-dagar with Serikon in May, and there will be new collaborations in the summer. More soon…

Trio Mediaeval

Plans for the new project with Trio Mediaeval are coming on apace. The programme is called Machaut and the Kings of Cyprus, and will celebrate the extraordinary connection between Reims and Nicosia at the end of the 14th century and the beginning of the 15th. The manuscript known to musicologists (but not to many performers or audiences) as Torino J.II.9 is an extraordinary collection of ars subtilior polyphony and chant by a single unknown author who clearly knew the music of Guillaume de Machaut. We will bring the two strands together in performances of the Machaut mass and a Cypriot mass of a generation or two later.  At the moment we have concerts lined up in Norway, Germany and the UK (details to follow when we’ve worked out a coherent schedule). 

 

Recent videos

Sunday, November 11th, 2018

Alternative History in Seville

Our York concert was live streamed, so (miraculously) Ariel Abramovich’s family in Argentina and Anna Maria Friman’s in Sweden were able to watch it in real time. It was great to see so many old friends at the university, and to welcome Tony Banks to our Blackheath gig where he heard two of his pieces for the first time. We’ll next all meet in Seville on 28th for a Murillo-themed programme of Victoria and Josquin (including the amazing Bovicelli version of Victoria’s Vadam et Circuibo).

Gavin Bryars’ Winestead

We’ll be doing Winestead again at Triskel in Cork on the 25th and at the National Concert Hall in  Dublin on the 26th. We made a video (in one take) in Andrew Marvel’s eponymous church while rehearsing for the premiere as part of the Hull City of Culture celebrations. It’s become one of my favourite pieces of Gavin’s (most of it is even in my range).

Serikon in Uppsala: The Travels of St Bridget

The Travels of St Bridget was also live streamed and the video is still available on the Kirkomusik Symposium website here (scroll down till you get to the right one). It’s an hour and twenty minutes long, but full of great stuff (for Swedish speakers Anna Maria Friman slaying the dragon is a tour de force, and you won’t find a more impressive cowhorn virtuoso than Daniel Stighall). About 55 minutes in there’s Gavin Bryars’ Lauda 47 in a new arrangement for this concert.

Alternative History at Musica Divina in Krakow

Musica Divina have produced a beautiful short video of highlights from the festival, which you can see here. Our bit starts around 1.55 but the whole thing is well worth watching.

 

October adventures

Tuesday, October 16th, 2018

October means two things: ten days holiday in Italy working our way across from Lucca to Venice celebrating a significant anniversary, followed by the Dowland Project’s appearance at the Grenzenlos festival in Murnau on the 21st.

The Italian trip turned into yet more of an adventure than I was anticipating when we arrived at the car hire in Pisa to discover my driving license had expired.  After some frantic lateral thinking it became a trip by train, taxi and boat, with only one change of reservation (miraculously). Huge thanks to Trenitalia, all of whose trains ran absolutely on time (and were incredibly cheap), to countless helpful taxi drivers and Vaporetti crew who manhandled the luggage we thought was going to fit in a car – and special thanks to Erica who rescued us in Castell’Arquato and drove us to Fiorenzuola station so we could get to Sabbioneta. It was all total magic until we arrived back at Manchester airport to find the Trans Pennine Express had cancelled our train and the two we eventually caught both developed faults. Italy has a bonkers right-wing government which manages to make the trains work, why can’t ours?

On the Murnau blurb I’m billed, curiously, as a countertenor. I was once billed as a male soprano at a Purcell Room concert eons ago when I had to sing some pretty crotch-tightening arias but I’ve not yet dared to sing falsetto in public (it’s frightening enough in private) and I’m certainly not going to this time (I hope this is a cause for relief rather than disappointment). The evening is called Time Travel, and begins with readings by the actors Undine Brixner and Nicolaus Paryla, before we launch into a short tour of the DP repertoire from Troubadour song to Schubert, plus a digression via Placidus von Camerloher (1718-1782) and a folk song or two.

In November the Alternative History quartet has two concerts in the UK, at the University of York on the 7th and the Greenwich Early Music Festival on the 9th. I think this is the first time we’ve done two consecutive concerts in the country that two of us live in. I guess that post-Brexit our fellow band members won’t be allowed in so make sure you catch us while you can. Then at the end of the month we return to the mainland (our natural home) with a special programme for the Murillo festival in Seville. Sadly, the gigs we were hoping would follow this have been postponed till next year, and our next concerts in Spain will be in February.

In between the AH gigs I have an experimental concert with my former Hilliard Ensemble colleague David James at St Marie’s Cathedral Sheffield on November 10th. This will mark the 100th anniversary of the end of WW1 with a performance of Guillaume Dufay’s L’Homme Arme mass in a version for the two of us and Jacob Heringman (lute).  We’ll also be re-visiting some Byrd, Tallis and Arvo Part that we used to do with the Hilliards.  We’ll be repeating the programme in Marvao in July, and if all goes well we might expand our repertoire for future concerts.

On November 25th I’ll be returning to Triskel Arts Centre in Cork, this time with the Gavin Bryars Ensemble to celebrate Triskel’s 40th anniversary. We’ll be doing Jesus Blood, Winestead and a new Lauda composed for the occasion. The next day we repeat the programme at the National Concert Hall in Dublin as part of Gavin’s 75th birthday celebrations.

New season dates

Saturday, June 16th, 2018

 

 

 

Alternative History

We were at the magnificent Kościół św. Józefa in Krakow on August 11 with a new programme called Secret History: ancient and modern polyphony for voices & lutes. The title comes from our current ECM album but unlike the CD (which is of music by Josquin & Victoria) this programme included new compositions and intabulations alongside the early music. Ariel and Jake played Arvo Pärt’s Pari Intervallo in a version newly sanctioned by the composer (‘Play it faster!’), and we did the first performance of Ash and Snow composed for us by former Weather Report drummer Peter Erskine, as well the first performance in Poland of John Paul Jones’ Cradle Song which we first performed in the Swaledale Festival last year. Huge thanks to the incredibly hospitable Musica Divina team.

We’ll be doing a similar programme in Cork at the wonderful Triskel Arts Centre on September 21, a kind of enhanced replacement for the gig we had to cancel because of snow back in March (enhanced because European Early Music Day had to go ahead without us so we’re not limited to the Renaissance this time). We had a wonderful time on our last visit and we’re really looking forward to actually getting there this time.

The quartet  next meets in York on November 7, my first time back in the Jack Lyons since my farewell concert of music by Veljo Tormis  with The 24 back in 2010 or so. This will be River God Songs and will include material from our proposed next album, including Moeran, Warlock and Peter Pope as well as the new John Paul Jones and Peter Erskine pieces. We’re also hoping to  do Ian Telfer’s Finisterre. This is a song June Tabor first recorded with the Oysterband in 1989, and then re-recorded in 2010 for her own album Ashore. The first version is a fairly anonymous sea shanty, the second one of the most eloquent and moving songs I’ve ever heard, so it’s a sort of tribute to June T and the idea that a song can be whatever you want it to be. I’ll probably try it out in September with the Dowland Project to make sure it works in our semi-improvised way (I’m tempted to play the piano…).

Two days later we’ll repeat the York programme in the Greenwich Early Music Festival (in Blackheath), and then we reconvene in Spain for concerts in Seville (28th) and Cadiz (29th) after which we go on to the Canary Islands.

Conductus in Worms

On September 2 I’ll join Christopher O’Gorman and my former Hilliard colleague Rogers Covey-Crump in the Magnuskirche Worms for the opening concert in the Kultursommerreihe Via Mediaeval series (no idea why it’s billed as in that link – I’m obviously bigger in Worms than I thought). Five years ago we did one of our first trio concerts in the same series. We’re returning 3 CDs, acres of research and dozens of performance later, to present a completely new programme which will also include some heavyweight organa (possibly being sung for the first time in 800 years).

St Bridget in Uppsala

On September 14  I’ll be with Serikon for the Travels of St Bridget programme in Uppsala cathedral,  following on from our concerts in Sweden last year. The programme will also include new versions of at least one of Gavin Bryars’ Laude arranged by Gavin specially for this ensemble.

Gavin in Bryarland

…and I’ll be doing two concerts of Gavin’s music in Ireland in November (it’s a very busy month). These will be in Cork (25) and Dublin (26) and will include Winestead (composed for the Hull City of Culture last year) and a new commission to celebrate the 40th anniversary of Triskel Arts Centre.

Resurrecting Dufay 

On November 10  I’ll be getting together in Sheffield Cathedral with my ex-Hilliard Ensemble colleague David James to do Jacob Heringman’s transcription of Guillaume Dufay’s L’Homme Arme mass for the three of us (Jake playing the two lower parts). In between the mass movements we’ll do Byrd and Tallis Motets. The Dufay mass is one that I particularly enjoyed singing with David and the Hilliards. It must be nearly 20 years since we last did it, so fingers crossed…

Dowland Project in Germany

It’s been a while since the Dowland Project’s last gig so I’m delighted we’ve been asked to Murnau on October 21 for the Grenzenlos world music festival. The line-up will be me, John Surman, Milos Valent and Jacob Heringman and there will be improvisations galore (based loosely around the Night Sessions album), some Schubert and a tribute to local musical hero Placidus von Camerloher. There is nothing more liberating than a Dowland Project gig, and I can’t wait.

 

…and a postscript:

I don’t think I actually mentioned Aretha Franklin in A History of Singing, so it was a big surprise to see the book quoted (though not attributed) in a Guardian leader celebrating her life.  It’s quite touching when you discover someone’s actually read your stuff, and especially when they can extrapolate from it (the Guardian’s writer puts a wonderfully human gloss on the real importance of singing). In Krakow last week a couple came up after the concert and asked me to sign their well-worn copy of the Cambridge Companion – or their bible, as they called it.

Anglo-German Adventures

Sunday, May 20th, 2018

 

I first visited Germany on my way to Istanbul, hitch-hiking between school and university. My friend Nick, who was bolder than I, blagged us a lift from the car deck on the ferry and we were dropped somewhere in Germany. Off the Autobahn we found ourselves apparently lost in the countryside, but were soon picked up by a lorry from a nearby brewery. The driver was politely amused by our schoolboy German (I’d just scraped an O level) and reached behind to pass us a bottle each. The three of us happily slurped away until he dropped us off at an inn for lunch. That’s the kind of welcome a teenager doesn’t forget. A few weeks later we were in what was then Yugoslavia and were picked up by German shirt smuggler (if I understood him correctly) and he took us most of the way to Turkey, stopping near the border at a mountain spring where he treated us to fresh yogurt and gherkins. I’d never had either before and can still taste them.

I’ve been enjoying German hospitality ever since, one way or another. I got to know towns I’d never heard of through concerts with the Hilliard Ensemble. The group could have survived handsomely just on the German gigs alone (and, of course, we had a famous German record company). The hypothecated church tax meant that most churches had more money than they knew what to do with, and concert promotion was a great way to spend it.  The group’s success meant that when we started our summer school series we had many applications from some amazing German singers. Singer Pur and Amarcord, for example, went on to become world famous; some students returned each year with different ensembles and are still firm friends. The person we most have to thank is Werner Schüßler, who not only introduced us to scores of wonderful German musicians but rescued the summer school and was responsible for bringing it to Schloss Engers on the Rhine.   Werner is an educator extraordinaire (as his recently published book on singing comprehensively demonstrates) and has coached hundreds of young singers over the years (and I’ve been delighted to join him on numerous occasions). He has a particular affinity with Northern England (he speaks fluent Geordie) and is a frequent visitor to this part of the world. At 3.30 on Tuesday 29th May he will be presenting two of his student ensembles in York Minster’s Chapter House. If you can get there, come and support these young singers (I’ve coached them myself too, and can guarantee you’ll have a great time). It’s a wonderful programme including music by Hildegard von Bingen, Mendelssohn, Rheinberger and Whitacre among others, which should sound stunning in the Chapter House acoustic.   If you miss them, on the 31st they can be heard in a lunchtime concert at St Andrew’s Corbridge (12.30) followed by evensong at Hexham Abbey at 6.30.

 

English Music Festival

The previous weekend (Saturday 26th at 2.15) Jacob Heringman and I will be opening the latest edition of our Book of Lost Lute Songs at Sutton Courtenay church (where George Orwell is buried).  The first half of the programme is a sort of Paston tribute, with movements from all three Byrd masses and motets (sung and played) by Tallis, Byrd, Dowland and Anon. The second half is an all-Heringman intabulationfest of music by Warlock, Butterworth, Moeran, Stephen Wilkinson, Peter Pope and Tony Banks. Quite a lot of this we’ll be doing in versions we haven’t tried before; it will be our third recital in England this year – a record for me. Jacob can also be heard with Ariel Abramovich in the Swaledale Festival on June 7th (sold out but you might get returns). The three of us will be joining Anna Maria Friman for Alternative History gigs in Poland, Ireland, Spain, Sweden, the UK and the Canary Islands later in the year.

 

 

 

Life after Josquin…

Monday, April 2nd, 2018

A luxury of lutenists

 

Jacob Heringman  &  Ariel Abramovich

(with John Paul Jones, centre)

 

I don’t know what the collective noun for lutenists is, but I’m very fortunate to work with two amazing players, Ariel Abramovich and Jacob HeringQman (John Paul’s preferred instrument after the bass guitar is the mandolin…). Together, they are the creative engine room of the Alternative History project which has produced the ground-breaking Amores Pasados and Secret History albums for ECM. The Alternative History diary for this year includes concerts in Krakow, Cork, York, London, Gothenburg, Seville, Cadiz and the Canaries, and the three of us also have plans for a programme that combines the calm subtlety of renaissance lute duets with the virtuosic mayhem of the jazz-like ‘division repertoire’ of the early 17th century. Ariel and Jake can be heard as a duo in the Swaledale Festival on June 7th, but book soon as they are likely to sell out.

escaping to Ecuador with Ariel Abramovich

[photo Guy Carpenter]

In addition to our quartet with Anna Maria Friman, I do separate programmes with Ariel  and Jacob. Ariel and I are celebrating ten years of concerts together, most recently in the Canary Islands and Ecuador, and we will be returning to Spain (our more familiar stamping ground) later in the year. Our repertoire has focused heavily on English lute songs, notably Dowland and Campion, and our current programme In This Trembling Shadow, combines this with intabulations of Byrd and Victoria.  Our performance of the Byrd 3 voice mass in Quito at around 3000 metres above sea level may be the highest Byrd has flown (I was actually offered oxygen before our first gig…).

[photo Guy Carpenter]

Jacob and I first worked together so long ago that neither of us can remember when, and Jake’s concern for our carbon footprint has serendipitously led to our doing more concerts in the UK. Our most recent work has evolved under the title ‘Life After Josquin’ and taps into both Jacob’s well-known work on Josquin intabulations and the ‘Alternative History’ way of doing things.  The title refers to the renaissance practice of re-inventing choral music as lute-based chamber music with (or without) voice(s) which often continued to be performed long after the composers were dead.  Jake has become adept at tabbing not only Josquin and his contemporaries but also twentieth & twenty-first century choral music and songs. Especially those called Peter (as in Warlock, Pope and Erskine).

April 22: Life After Josquin in York

The intabulation repertoire was created for informal performances at home, and it was probably the way most people heard renaissance polyphony (the choral interpretations beloved of the early music movement were relatively rare). Having said that, modern performances (whatever the Besetzung) invariably happen in a concert environment that is not remotely domestic, and although you can finesse the repertoire itself you can’t really avoid ‘Performing’ it. On April 22 Jacob Heringman and I will have a unique opportunity to explore this repertoire in something like a renaissance environment, courtesy of  Thomas and Jo Green who occasionally put on concerts in their house in York.  The plan at the moment is to repeat most of the Life After Josquin programme that we did in Newcastle in February, but in keeping with the informal nature of the event we will probably make it up as we go along (taking requests might be a bit tricky but not out of the question). It should be the perfect acoustic environment for the lute, but it will present interesting challenges for me as a singer: even my ‘early-music-lite’ way of singing would be a bit in yer face in a roomful of 20 people, so I’ll be experimenting with an even more speech-like delivery than usual. God knows what it’ll sound like, but it’ll certainly be the closest I’m likely to get to what we used to call an authentic performance.

May 26: The Book of Lost Lute Songs at the English Music Festival

Jake and I will be appearing next at the English Music Festival on May 26th at All Saints church Sutton Courtenay Oxfordshire (2.15 start). This programme takes the intabulation principle into more recent music. The first half will be all Tallis, Dowland and Byrd (excerpts from all three masses); the second half will consist of Jake’s intabulations of Warlock, Butterworth and Moeran, and of more recent pieces by Peter Pope, Stephen Wilkinson and Tony Banks. The festival was a little wary of including the latter (it’ll be Follow thy fair Sun from Amores Pasados) but I hope they’ll be reassured after the success of Tony’s orchestral album 5. 

 

Peter Erskine writes for Alternative History

We’re thrilled that American jazz legend Peter Erskine has written a new piece for us (with words by Anne Hills and intabulation by Jake).  Ash and Snow will be premiered in Krakow in August and we’ll also do it at Triskel in Cork (now re-scheduled for September after the snow beat us last time) .

 

S(no)w business like…

Thursday, March 1st, 2018

 

STOP PRESS! Triskel concert re-scheduled for Sept 21!

 

Triskel travel terminated…

We tried very hard to get to Cork for the Alternative History concert in Triskel’s 40th birthday series but the weather gods eventually won.  Jacob Heringman got as far as Holyhead before turning back after my flight was cancelled. After all Tony Sheehan’s hard work to get us there I just wanted to cry, but we’ll have another go later in the year. If you’re sitting in Cork airport with a cancelled flight, the album is on Spotify… or you can catch us soon in Poland, Spain, the UK or the Canary Islands.

Islas Canarias

So I now have a few days off before going to the Canary Islands with Ariel Abramovich for the Sacred Music Festival. Our programme there is a new one and is the first in our 10th anniversary season. The title In This Trembling Shadow comes from the eponymous song in Dowland’s  Pilgrim’s Solace. We’ll also be doing the famous Thou Mighty God trilogy from the same book, Campion’s Author of  Light and motets by Victoria. In between there will be movements from Byrd’s 3 voice mass.

The first recital is at the Iglesia de Santa Brigida in Gran Canaria on March 16th. We then go to Tenerife and the Iglesia de Las Clarisas in  La Laguna on March 17th, and finally to the Iglesia San Francisco in Sta.Cruz de La Palma. Three evenings of intensive music making in amazing churches (and much as love snow it’ll be relief do go somewhere where there isn’t any).

Tristram Shandy

I come back to England for the Tristram Shandy celebration on March 22nd before re-joining Ariel in Madrid the next day on our way to Ecuador.  For the concert at St George’s Hanover Square I’ll be getting together briefly with my old Hilliard Ensemble colleagues for a performance of Roger Marsh’s Poor Yorick. This promises to be a hugely entertaining evening with readings and music on the 250th anniversary of Sterne’s funeral in the same building.

Festival Internacional de Música Sacra Quito

This will be my first visit to Ecuador, and Ariel and I will be opening the sacred music festival with In This Trembling Shadow, and once again we’ll perform in extraordinarily beautiful churches. The schedule looks like this:

  • Sunday, March 25 Church of El Carmen Alto. 18.00
  • Monday, March 26 Variety Theater Ernesto Albán. 11.00 Master class.
  • Monday, March 26 Church of the company. 7:30 PM

Flammarion Correspondences

I get a week off at Easter (unlike  most of my fellow tenors who are frantically Bach-ing away with the seasonal passions), then at the beginning of April I’ll be spending a week at Trinity Laban working on Edward Jessen’s Flammarion Correspondences. This is a preliminary exploration with a production company intended to produce promotional material which will appeal to theatrical promoters in the UK and Europe. We’re aiming at a work-in-progress preview on Friday April 13th.

 

Life after Josquin

Jacob Heringman and I had the first outing of our Josquin programme at Newcastle University last week. We were asked not to cross the picket line and to cancel the concert, but I came to an amicable understanding with the union having gently I pointed out that they were expecting us to give up our meagre fee so that they could have a better pension and I couldn’t recall any of my old academic colleagues volunteering a pay cut so freelance musicians could be paid more. I was all prepared to thank a tiny audience for crossing the line and announce that we nevertheless supported the strike, but was completely wrong-footed when we went on stage to one of the biggest audiences for a lute song recital that I’ve seen for a while.

Our next performance, probably of this programme or something very like it, will be one of the smallest at a house concert in York.  We’ll be doing two performances (with tea and biscuits!): 2.30 for 3.00 or around 4.30 for 5.00 on April 22nd.  Unlike our previous one in the hugely resonant King’s Hall this will be very intimate, and perhaps not unlike listeners in the early 17th century might have experienced it (I don’t think I’ve ever performed in such a minimal acoustic, and I hope it doesn’t sound like my front room).  You can book a seat here but be quick as it’s likely to be full.

In May we’ll be back to a more resonant acoustic in the 12th century church of All Saints Sutton Courtenay. We’ll be doing parts of all three Byrd masses as well as Jake’s transcriptions of Warlock, Moeran, Peter Pope and Stephen Wilkinson at the English Music Festival.

 

There’s a longer list of ECM-related gigs on the ECM site.

 

 

 

More Spring updates

Thursday, February 8th, 2018

Since the last update more details have come in about Roger Marsh’s Poor Yorick at the Laurence Sterne celebrations with my former Hilliard Ensemble colleagues on March 22, after which I leave for Ecuador for concerts and a masterclass in Quito with Ariel Abramovich.  I’ll post further details about all these shortly, and concerts in April with Edward Jessen and Jacob Heringman.

La dársena

Ariel Abramovich has just given a long interview about Secret History (in Spanish)  for RTVE’s  La dársena music magazine programme. You can catch it here (starts at 1.25.19):  http://www.rtve.es/alacarta/audios/la-darsena/darsena-ariel-abramovich-04-02-18/4459498/

Tony Banks 5

Tony Banks’ new orchestral album 5 has had a rapturous reception in the prog press, and Tony has spoken about the songs he’s composed  for me on the Genesis-News Website as well as in the current Record Collector (no relation to The Record Collector I mentioned in a recent post):

 

I went several times to the Marquee in 1967 though I didn’t see the Nice. I did hear the Yardbirds (with Eric Clapton), John Mayall,  Sonny Boy Williamson, Long John Baldry  and a very young and delicate Rod (‘the Mod’, as he then was) Stewart. The  Swingles stayed at the same hotel as Rod in Perth about ten years later, and we all stood and gawped as he processed through the foyer with his entourage.  I once heard a journalist ask Ward Swingle what he thought of progressive bands like Genesis, Pink Floyd, Nice, Yes? To which he replied ‘Very…’.

The diary for the next couple of months looks like this at the moment (recent updates in blue):

February 22

Life after Josquin                           Newcastle University (13.10)

(with Jacob Heringman lute)

 

March 2

Alternative History                        Triskel Arts Centre Cork

 

March 16

In this trembling shadow

Iglesia de Santa Brígida, Sta. Brígida, GRAN CANARIA. (20:00)

(with Ariel Abramovich (lute)

 

March 17

In this trembling shadow

Iglesia de Las Clarisas, La Laguna, TENERIFE (20:30)

(with Ariel Abramovich lute)

 

March 18

In this trembling shadow

Iglesia San Francisco, Sta.Cruz de La Palma, LA PALMA (12:30)

(with Ariel Abramovich lute)

 

March 22

Laurence Sterne celebrations       St George’s Hanover Square, London

(Roger Marsh: Poor Yorick with former members of the Hilliard Ensemble)

 

March 24

Master class                                  

Festival Internacional de Música Sacra, Quito, Ecuador

(with Ariel Abramovich lute)

 

March 26

In this Trembling shadow           

Festival Internacional de Música Sacra, Quito, Ecuador

(with Ariel Abramovich lute)

 

March 27

In this Trembling shadow           

Festival Internacional de Música Sacra, Quito, Ecuador

(with Ariel Abramovich lute)

 

April 13

Flammarion Correspondences   Bonnie Bird Theatre, London

(Edward Jessen preview)

 

April 22

Life after Josquin                           York (house concert 3.00)

(with Jacob Heringman lute)

 

May 26

Book of Lost Lute Songs               EMF Sutton Courtenay (2.15)

(with Jacob Heringman lute)

Discography

I’ve at last got around to updating the discography page. It’s still not complete but at least the press quotes are now pasted beside the relevant albums (thanks Inigo).