Apologies to those looking for the gig list (there’s a provisional one below). I’m taking three months off to finish a book. I’ve promised myself a first draft by Easter so work starts again in April (writing, being pure self-indulgence and hardly profitable, doesn’t count as work). It’s going quite well so far – that early rush where you get everything down in a very raw form before you realise it probably has to be a bit more tactful (and possibly better researched). Later in the year three other odd bits of writing will finally appear: ‘Voice, Genre, Species? How the tenor voice has been defined since the first recordings’ will be published by Schott Mainz in Der Tenor: Mythos, Geschichte und Gegenwart (in my original English after all rather than a German translation); my piece on Pier Francesco Tosi for the Max Planck Institute’s music aesthetics encyclopedia project will be published (in German) by Bärenreiter, and the long delayed Cambridge History of Medieval Music for which I contributed on modern performance of medieval music is now with CUP.
Responsio nominated for a Juno
In the meantime… our recording of Peter-Anthony Togni’s Responsio (with Jeff Reilly, bass clarinet) has been nominated for a JUNO award (the Canadian equivalent of the Grammies). The list also includes Adele and Justin Bieber (though they needn’t worry about the competition as they’re in different categories). We’ll be performing the piece in Montreal and Halifax in April. There’s a great review of the recording here.
Conductus 3 released February 26
Details in my two previous posts., together with info on concerts & workshops in the UK and Spain later this year. There will be a review in the April Gramophone.
Amores Pasados reviews, future plans
Two interesting reviews from critics who really understand what we’re all about: the autumn issue of the Journal of the Lute Society of America has just reached us, and Nick Lea writes for Jazz Views here. There’s also a long interview on the Jazz Views site with info about the genesis of the Dowland Project, Conductus, Being Dufay, Amores Pasados and much more. Gramophone decided not to review the album, incidentally – the first ECM release of mine that they’ve ignored. I guess they just don’t like rock musicians. Our next one’s going to be even worse…
The Amores Pasados season kicks off in Seville at the Teatro Centrale in April – details to follow. Gigs in the UK and Germany later in the year and a possible South American tour in 2017. New recording some time after the summer – be prepared for some unique engagements with Shakespeare from some very distinguished rock musicians.
The provisional gig list for the spring and early summer looks like this:
Helsinki Sibelius Academy
Amores Pasados, Teatro Centrale, Sevilla
Responsio Halifax (Canada)
Gavin Bryars Laude dance project, Winchester Cathedral
Conductus Cambridge Festival of the Voice
Amores Pasados National Centre for Early Music, York (Festival of Ideas)
(the next Amores Pasados gigs will be in Germany in September & October)
Conductus Besalu (International Course on Medieval Music Performance)
Conductus Gloucester (Three Choirs Festival)