:: Alternative History


ALTERNATIVE HISTORY

Friday, September 1st, 2017

Alternative History has a number  of things in common with the Dowland Project, the most obvious of which is that we didn’t settle on a name until after the first release (2nd, in the case of AH).  The name business is a really tedious question to wrestle with (we just want to get on with the music) but it’s obviously important for concert promoters and agents. My own only slightly egotistical take on this is that we’re all already known to most of our likely audience, and a new name would mean starting from scratch. We managed to release Amores Pasados under our own individual names, but this led to endless confusion about the name of the album vs the name of the ensemble, a problem which got even worse when Secret History came along. I very much wanted this to have everyone’s name on the front – like everything we do it’s a totally collaborative effort. But having tried several drafts, ECM just couldn’t fit us all on. The result, ironically, is just my name in massive letters. I love the ECM design criteria and I absolutely understand the aesthetic, but it doesn’t always work in favour of the musicians and can have unintended consequences. The Guardian online review has our  great Guy Carpenter puddle pic (above) but talks of Potter going solo, which is to completely misunderstand the nature of our work (mind you, one of the German papers talks of ‘the Potter phenomenon’, which no one’s ever called me before). Anyway, the important thing is that the album is out there, and we’ll be featuring a Josquin & Victoria programme alongside Amores Pasados. In the duo programmes with Jake and Ariel we’ll also be doing some Josquin alongside Banks and Sting, and Jake and Ariel will be including duets from the album in their duo programmes. We also have a brilliant Alternative History pdf which we’ll be sending to promoters. I’ll  put up an update with press comments etc later this month, and when I have a bit of time (unlikely this month) I’ll do a dedicated Alternative History page. There’s a bit of video and an extract from the Victoria Benedictus on the ECM Facebook site here.

 

 

There hasn’t  yet been a Gramophone review of Secret History but the September issue has a retrospective of all the Les Noces CDs, of which the 1990 Hyperion recording I did with James Wood comes out top of the pile. We’re in some very distinguished company, so it’s quite an achievement. It was a wonderful Anglo-Russian collaboration,  myself and Jane Ginsborg with the formidable Elena Medvedovskaya and Alexander Nazarov (who were very tactful about our pronunciation). I think it’s the only time I’ve recorded in Russian (the Hilliards didn’t record the early Part pieces, though Alternative History has plans…).

This is the diary for September:

8            Conductus   Romaldkirk

15           Serikon         Uppsala (Luther conference)

18           Benslow        Book of Lost Lute Songs (with Jacob Heringman)

18-21     Benslow voice & lute course with Jacob Heringman

27           Serikon/Cecilia Frode      Kristianstad

28           Serikon/Cecilia Frode      Halmstad

29           Serikon/Cecilia Frode      Ystad

30           Serikon/Cecilia Frode      Malmo

To come: Alternative History in Portugal and Poland, Gavin Bryars Nothing Like the Sun in Prague and more Serikon/Cecilia Frode shows in southern Sweden

 

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Alternative History

Thursday, July 13th, 2017

Winestead

The final performances of Gavin Bryars’  Winestead in the New Music Biennial took place at London’s Festival Hall. It’s been great to spend so much time with one piece (and it’s a beautiful piece) and I hope there will be many more to come. The film, which like all films involving classical singing has too many shots of the inside of my throat, is available on YouTube. It was done in one take (very cleverly) on the afternoon of the first performance in Winestead church.

 Dowland to Sting in Catalunya

I’m soon off to Catalunya with Ariel Abramovich for three recitals in the Festival de Música Antiga dels Pirineus (FEMAP). where hopefully the weather will be a bit better than at our recent photo shoot.

The programme will be a mixture of Dowland and Campion with some Tony Banks, Sting and one of Jacob Heringman’s beautiful new Peter Pope intabulations. The first is in the Monestir de Sant Llorenç in Guardiola de Berguedà on July 28 at 22.00. The next day we go to Ordino in Andorra, where we’ll perform at the Museu d’Areny-Plandolit (20.00 start) and then on to the Refugi de l’Estany Gento in La Torre de Capdella on the 30th. As far as I can see this is a hut in the mountains, so it should be an intimate occasion. It starts at 6.00, presumably to allow time to climb back down the mountain for dinner.

Vibrato in the Proms

A few weeks ago I took part in a round table discussion about vibrato for Radio 3 with Peyee Chen, Helena Daffern, Janice Kelly and Richard Bethell.  Interestingly York-orientated – three of us were/are connected with the Music Department (and Richard Bethell gave a paper at the NEMA conference). We rabbited on for ages and the final 21 minute cut will be broadcast during the prom interval on August 6th. Not sure what Moussorgsky fans will make of it (my chosen example was June Tabor’s Finisterre).

Alternative History

 

 

ECM will release the new CD on August 25 worldwide.  I always pre-order a copy of my own albums on Amazon so that I can check it’s actually for real, but at £25+ I think that would be a bit silly (and they can’t spell Josquin…). You can get it from Amazon.de for 18.99 euros or from the US site for roughly the same in dollars. This is actually the first album I recorded with Anna Maria Friman, Ariel Abramovich and Jacob Heringman, and it’s the first purely ‘early music’ album I’ve done for ECM since Hilliard Ensemble days (we went on to record Amores Pasados which was then released first). It’s by no means conventional early music though, with motets and a mass in new versions for two voices and two vihuelas (with two teams of vihuelists: Ariel and Jacob for Victoria, and  Ariel with Lee Santana for Josquin). It’s called Secret History because although cannibalising ‘acapella’ polyphony and performing it in this way was typical of the 17th century, the  modern early music movement has generally focused on the first pristine incarnation of the music rather than what musicians subsequently did with it (the real history which is too often ignored).  We’ve been inspired by later sources – in this case the English 17th century Paston ms which has both Josquin and Victoria side by side (though not pieces we do on the album). A little late in the day the four of us have decided to name our whole project Alternative History. The Dowland Project didn’t have a name until its second release, so we’re going a bit further with only half the name on our second one.  A while back I did an interview with Jazz Views which puts it all in  context (though it pre-dates the name). Our first concerts under the new name will be in Poland and Portugal later this year, and we’ll tweet about them nearer the time.  We’ll also be using the name for any permutation of the four of us when we’re doing programmes informed by these ideas. Jake and Ariel have recently released Cifras Imaginarias (on Arcana), an album of 2-vihuela intabulations which works in a similar way, and the three of us are working on a Morales project for next year.

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September is busy, and will include a Conductus concert with Rogers Covey-Crump and Christopher O’Gorman, a gig with Serikon at the Luther conference in Uppsala, a recital with Jacob Heringman at our course in Benslow, and the first Mare Balticum events with Cecilia Frode in Sweden. I’ll update the diary properly in a bit.

photos Guy Carpenter

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Gavin Bryars and Winestead

Friday, June 23rd, 2017

Yesterday’s event at Winestead was an extraordinary occasion. We did two performances of Gavin Bryars’ eponymous piece, having spent most of the day filming it as part of the Hull City of Culture project. The rector of St Germain’s church between 1614 and 1624 was Andrew Marvell, and it was there that he christened his son Andrew, who grew up to be the metaphysical poet. Gavin Bryars set lines from several Marvell poems which reflect the mysterious landscape of Holderness, and we performed them to an audience that included descendants of the poet himself. The evening was hosted by Nick Hillyard, himself a descendant of Nicholas Hilliard. The church is still lit only by candlelight, and once we had said goodbye to the elaborate film machinery, Marvell’s verses soared over Gavin’s music into the air that first welcomed them four centuries ago.

The film is being shown  at 7, Whitefriargate, Hull on Friday 30th June 5pm-8pm, Saturday 1st July 10am-7pm and Sunday 2nd July 12noon-7pm (admission free). We’ll be performing the piece again at the Albemarle Music Centre in Hull on June 30th (8.00 start, and also free) and it will be recorded and broadcast on Radio 3’s New Music Biennial slot the following evening. We then do it again at London’s Festival Hall on July 8th (3.00 start nb – also free admission with ticket).

 

Dowland to Sting in Catalunya

 

Ariel Abramovich and I are doing three recitals for FEMAP (Festival de Música Antiga dels Pirineus) in July. The programme will be a mixture of Dowland and Campion with some Tony Banks, Sting and one of Jacob Heringman’s beautiful new Peter Pope intabulations. The first is in the Monestir de Sant Llorenç in Guardiola de Berguedà on July 28 at 22.00.

 

Image result for Monestir de Sant Llorenç de Guardiola de Berguedà

 

The next day we go to Ordino in Andorra, where we’ll perform at the Museu d’Areny-Plandolit (20.00 start).

 

 

Finally we’re at the Refugi de l’Estany Gento in La Torre de Capdella on the 30th. As far as I can see this is a hut in the mountains, so it should be an intimate occasion. It starts at 6.00, presumably to allow time to climb back down the mountain for dinner.

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I’m taking August off before a very busy September hits. I’ll post updates about the release of Secret History (due end of August), and also of plans for the future of my project with Anna, Jake and Ariel. We’ve finally (a bit late)… settled on a name: Alternative History. It won’t appear on Secret History (well, half of it will…) but we’ll use it in future when any permutation of the four of us does music that reflects our take on Amores-Pasados-type-early-music-related-performance. More anon.

 

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