When the French poet Gervais de Bus wrote his epic satire featuring a corrupt egomaniac sociopathic horse he probably wasn’t thinking that the wheel of Fortune (which also features in the plot) would come round again almost exactly 700 years later. My first engagement of the year took in both manifestations in rapid succession, with a performance of Presidentes in Thronis with Serikon in Sweden after which I was back in time for the anti-Trump demo in York (and we went straight on to La La Land to complete one of the most surreal 24 hour periods I can remember). Musicians out there: if you want to protest, Fauvel is the perfect programming opportunity (it even has leaders adrift without a moral compass who can’t wait to curry favour with the beast).
I’ll be returning to Sweden with Serikon several times later in the year, and hopefully Fauvel will rear his ugly head at least one more.
It’s going to be another busy year. There will be a brief reunion with my old Hilliard Ensemble mates as we join Singer Pur for their twenty-fifth anniversary celebration at the Prinzregententheater in Munich on March 9. This collaboration was born at the Tampere Vocal Festival in the late nineties, after Singer Pur had won one of the major prizes. Klaus Wenk and I sat down to breakfast one morning and chewed over the idea of our two ensembles getting together at some point in the future. The project got off the ground with a commission from Joanne Metcalf, who’d been a winner in the Hilliards’ 1994 composition competition (and who wrote Doom-Begotten Music for me in 2003) and the two groups went on to do many concerts and a CD together after I left. Joanne will there for the concert, as will Gavin Bryars who is also a longstanding friend of the ensemble.
March 21 Ariel Abramovich and I will give a recital for the Wunderkammer in Trieste (there’s a Facebook page about it if you’re signed up). I haven’t been there since 1965 when hitch hiking through Europe after school. I went swimming with a Carabiniere who insisted on diving for oysters. I don’t think I even knew what an oyster was and having tried one I certainly wasn’t going to eat any more, so each time he brought one up I threw it back as soon as he submerged (possibly to bring up the same one over and over again). I’ll be trying a bit harder this time. Ariel and I will be doing our Dowland to Sting programme, which we’re also doing in July for a series of recitals in Catalunya in the FEMAP festival.
In May I’ll be returning to Sweden to rehearse the Musik i Syd project with Serikon and Ensemble Mare Balticum and then going on to Helsinki for some more PhD examining at the Sibelius Academy (and possibly some ensemble coaching if I can fit it in). Then the Amores Pasados season starts with a concert in the Swaledale Festival on June 4th. It’s possible that ECM will have released Secret History by then, and we’re still holding dates to record some of our new repertoire (including more fantastic pieces from John Paul Jones and Tony Banks). In the middle of June I’ll be coaching in Germany, and at the end of the month Gavin Bryars’ new piece for the Hull City of Culture will have its first performance in Winestead church, followed by outings in Hull itself and the Royal Festival Hall. This project will renew Gavin’s association with Opera North, which began with the co-production with the RSC of Nothing Like the Sun for the Shakespeare anniversary of 2006. One of the sonnets from Nothing Like the Sun is now in the Amores Pasados programme in Jacob Heringman’s arrangement for Anna Maria Friman, Ariel Abramovich, himself and me, and this will be on our new ECM recording. I’ll be working with Gavin again in the autumn with performances of Nothing Like the Sun in Leeds and Prague, and there will be a new commission with his band for the 40th anniversary of the Triskel Arts Centre in Cork next year.
More details on all of the above in due course.