:: Lute song


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.

 

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.

 

 

 

Singing lute songs

Thursday, November 3rd, 2016

 

I spent much of October singing lute songs in one form or another (with one or both of my fantastic collaborators Ariel Abramovich and Jacob Heringman). As often happens I was asked at various points along the way to give lessons and classes. This is a difficult one – I like to encourage young singers and I don’t like to undermine the teaching of my fellow performers – but there’s very little about lute songs that an intelligent singer can’t work out for him or herself. It’s mostly a question of persuading them that they already have the means to do it, and giving them permission to suspend most of what they’ve been taught.

Obviously I can’t really charge a fee to tell someone they don’t need teaching so what I often do is invite them for a coffee and a chat. It’s free, and if they learn as much as they would in several lessons (as they sometimes do) it’s worth quite a lot. The first thing I point out is that Dowland, Campion and their contemporaries didn’t have singing lessons. They just applied their rhetorical instincts to the poetry and, probably with only minimal enhancement of their speaking voices, turned the poetry into song.  Our speaking voices are unique (which is why voice printing works) – they are the audible and aural representation of our personalities. No one would have mistaken Dowland for Campion, even if they were singing each other’s songs. Today’s trained singer is likely to be a generic tenor, soprano or whatever, and the price you pay for sounding like a proper tenor is some loss of your own individual vocal persona.  There are musical implications here too: modern breathing technique is what enables the legato line that we’re all taught to aspire to. No breathing technique: no line; no line: no tone colour. Horror of horrors…

What you’re left with when you take away the taught enhancements is a direct line to the poetry itself, a direct line from the creative bits of your brain to your voice. And there’s a bonus: you find yourself entering into a completely new relationship with the lute. It becomes your equally audible partner, not your inaudible accompanist. You breathe where the poet breathed, you adapt the music to the text and not the other way round. The lute can sing too, and the two of you merge into that extraordinary synthesis of words and music that is the 17th century lute song.  And you don’t really need a singing teacher to tell you that – it’s probably what you’d do if left to your own devices.