:: Peter Erskine


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.

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) .