:: Dowland Project


Higher notes from a singer’s greenhouse

Monday, May 18th, 2020

Greetings all! Concerts and recordings are being optimistically re-booked for next year and even the odd PhD defence is on the distant horizon, so there’s a hint of a new normality one day. I’ve started writing again and have returned to Vocal Authority: the Sequel. Or maybe it’s Vocal Authority Has Risen from the Grave.  Haven’t quite decided on the title yet. I still don’t feel like actually singing anything but at least my brain has started to function again, very much aided by the stuff below…

If you’re a proper gardener look away now… With a big thankyou to all those internet gardeners whose advice I’ve accepted or ignored, here’s an update from the greenhouse. Lockdown teaches you patience, and I’m slowly discovering that that’s also what gardeners understand. Unfortunately what this actually means didn’t dawn on me till way too late, so I’ve done everything far too soon. In my defence, I’ve only lost one cucumber and a tomato so far, though there are others starting to complain. I now have a sort of triage system where things start on the windowsill, progress to the greenhouse, are hardened off, and then planted out. That’s the theory, but it doesn’t always work in that order and some plants have had a very mixed itinerary.

Outside, I’ve been guilty of planting things out when there’s still a risk of frost, and of not letting young plants spend enough time getting used to the jungle out there. So the courgettes which grew so well in stages one and two suddenly found life pretty tough in the real word and had to be reassured with cloches (a new experience for all of us). They seem to have survived; this one hasn’t complained too much:

On the other hand the broad beans and fruit which have only known the rigours of outdoors are doing very well. The strawberries are suppose to be a trailing variety, though they obviously don’t start the trailing until they’re as high as potatoes.

Talking of which, here they are in their buckets:

They grew so rapidly I’ve tried to extend the process by wrapping some tarpaulin round a couple of them. We’ll see…

The greenhouse is now relatively empty. The potted tomatoes (now enormous and fully hard, I hope) are outside

– I know, much too big and straggly. I’ve got a more sensible sized lot in a grow bag in the greenhouse.

Everything else is either aubergine, cucumber or pepper in several varieties, and I’ll be hardening some of these off and keeping the rest inside.

Last summer the family brought us an iron firepit that they no longer have room for. We don’t have room for a firepit either, but we it turns out we can accommodate a small pond.

ECM from the Hilliard Ensemble to Alternative History

Wednesday, March 25th, 2020



If you were hoping to get to one of our Corona-cancelled Alternative History gigs and haven’t got one of our albums, Amores Pasados has several pieces that are still in our repertoire, and the Josquin and Victoria on Secret History is the tip of an iceberg of similar material that we would be doing live. The ensemble name post-dates the albums so you’ll find them under our individual names – and do check out the discographies of  my fellow band members Anna Maria Friman, Ariel Abramovich and Jacob Heringman. Anna’s most recent Trio Mediaeval recording is Rimur (with her husband, trumpeter and extraordinary vocalist Arve Henriksen); you can hear Jake and Ariel playing vihuela duets on Cifras Imaginarias, and Jake and I also put in a brief appearance on Ariel’s latest album Imaginario with Maria Christina Kehr. It was a winter’s day and close to zero when I recorded my bit of Josquin and it has had unusually mixed reviews ranging from the mythical to the mediocre, but don’t let that stop you listening to the magnificent Maria Christina and Ariel. Jake has a huge discography, and if you want to wallow in a Brexit metaphor, Guy Carpenter videoed the two of us in a post-Brexit (post-Coronavirus?) landscape for In Darkness Let me Dwell.

ECM…

Three of these five albums are on ECM, Manfred Eicher’s iconic label that has so successfully captured the musical Zeitgeist either side of the millennium. My connection goes back to the first meeting between the Hilliards, Manfred and Arvo Pärt in the back of a BBC van in the mid-1980s. When I left the Hilliards about fifteen years later I was incredibly touched to be asked to suggest new recording projects and the Dowland Project was born (as much the creation of Manfred Eicher as we musicians).  I don’t listen to my own stuff obviously (there’s a full discography here) but if I did here are some of the earlier ECM tracks I might summon up…

The Hilliard Ensemble

The Hilliard Ensemble’s Officium produced lots of fantastic music but many people didn’t get beyond the first album. Mnemosyne, the second recording, is a double CD and we were a lot better at negotiating with the saxophone by then. Two of my favourite tracks are Quechua Song, put together from fragments of South American folksongs, and the Brumel Agnus Dei. The Brumel has that wonderful sequence and we reordered it so that it would keep on coming. We used to do it live as the final piece, leaving the stage while still singing with Jan Garbarek soaring away above us. Of the other Hilliard albums from my time, A Hilliard Songbook is a double album of the the group’s greatest 20th century hits including not only works by Arvo Pärt and Veljo Tormis  but also wonderful pieces by James MacMillan, Barry Guy, Paul Robinson, Elizabeth Liddle, Joanne Metcalf, John Casken, Piers Hellawell and Ivan Moody.  The Arvo Pärt Passio and Miserere albums continue to resonate decades after we made them. I also love the gloriously bonkers When Sara was Ninety Years old (also on Miserere), where Rogers Covey-Crump and duet over Pierre Favre’s shamanic drum for the ninety year gestation period until the moment Sara (in the form of Sarah Leonard assisted by Christopher Bowers Broadbent) is miraculously delivered of  Isaac. We hardly ever did it live as it’s almost impossible to programme, but long after I’d left the Hilliards I was doing a gig in Sofia and found myself sharing a taxi with the distinguished percussionist and we bonded once more over the six words that we had in common.

Being Dufay

The Bulgarian gig was a new work by Ambrose Field for me and amplified string quartet, the second piece he’d written for me. Ambrose was a colleague at York and one day asked me to find him some fragments of Dufay, which we recorded in the Music Department studio. I was totally gobsmacked when about a year later he produced the extraordinary electronic tour de force which is Being Dufay. We played a bit to Manfred when he came to the university to deliver the PRS Lecture and he remixed and remastered it for ECM. There are proper prog moments when (as one reviewer put it) ‘the full digital Potter is unleashed’ but I really like the final track, La Dolce Vista. It’s a delicate love song,  one line of a three-voice ballade which I sing over an electronic drone. Ambrose used to re-mix it when we did it live, and I still do it with the Dowland Project, with Jacob Heringman providing the drone and John Surman and Milos Valent alternately inventing additional parts.

The Dowland Project

It’s impossible to pick a favourite Dowland Project track as they’re mostly single takes and you enjoy each one as though it’s the last you’ll ever do, so each one has everything you’ve got.  The most serendipitous album is Night Sessions, half of which was done after midnight and a lot of alcohol, having completed the previous recording (Romaria). With no music left but a feeling that the night was still young we went back into the monastery church and busked away with a book of medieval poems that I happened to have with me. We didn’t really know what we’d done until the next morning. The track about medieval gardening is excruciating, but Corpus Christi and I sing of a Maiden hit the spot. You’d have no idea we were making it up and that these were the only takes. With Night Sessions I think the process that began with Officium reached a kind of point of no return (and I’m sure my ex-Hilliard colleagues are very relieved that I left before I could drag them in that direction). Strangely enough Theoleptus 22 was originally intended for the Hilliards and Jan. It’s an ancient Byzantine chant (with 22 notes, I seem to remember) and obviously got very different treatment in the hands of messrs Guy, Stubbs, Homburger and Surman. Thankyou Manfred for half a century of fantastic music making.

Alternative History…

Sunday, November 3rd, 2019

 

Alternative History

Our final concerts of the year were in Sweden, Spain and Portugal. On 14 November we were at the AHA! Augmented Reality Festival in Gothenburg. This was an Amores Pasados programme, and our application of 16th century performance practice to much later music was a very good fit with the agenda of the festival (which also included an especially bizarre event by Stefan Östersjö, Bill Brooks and Jez Wells that Bill and Jez presented at York last year). We then met for gigs in Idanha-a-Nova (Portugal) on the 22nd and  Cadiz the following day (as part of the Cadiz de Falla celebrations).

Once again we were able to bring our particular take on historical reality, this time by interpreting some of de Falla’s arrangements of Cristobal de Morales.  The two gigs involved a prodigious amount of travel for all of us, in my case visiting Spain and Germany twice as well as Portugal. And as for Jake – the fearless eco-warrior had to resort to the skies on the way home rather than face a thirteen hour bus journey to the boat. Spain has really become the home of the group, and we’ll be returning in January (Albacete) and April (Madrid Auditorio Nacional de Música – Sala de Cámara with new music including a premiere of another new piece by legendary percussionist and composer Peter Erskine.

The Dowland Project

DP in Murnau (photo Heribert Risenhuber)

Very gratifying to see that the DP is rarely out of the classical charts in some form or another. There will be more concerts in Germany next year, and we hope there may be another recording (perhaps in collaboration with Alternative History). In the meantime I’ve updated the webpage.

 Milos Valent, JP, Jacob Heringman at Radovljca, Slovenia (photo Jana Jocif)

Alternative Future…

Sadly, the forces for good lost the UK election and it looks as though we’ll begin the long and terrible process of withdrawing from Europe in 2020. Here’s a reminder of our video contribution to the Brexit debate. As the only English member of a European ensemble I can only apologise to fellow band members and to our many European friends.  It’s hard to think of anything positive to say, except perhaps that we will soon see what Brexit means, and once the perpetrators become aware of the reality we can begin the long haul back to sense and civilisation.

Happy New Year everyone.

DP in Dobrss

Sunday, August 18th, 2019

JP      Milos Valent      Ariel Abramovich

This was a first for us, multiple firsts in fact  – the first time Ariel, Milos and I had performed together, the first time Ariel had played with the Dowland Project, and the first time we’ve done a gig without the sax of John Surman. It was exhilarating – bang on the DP button, with neither us nor the audience knowing exactly what would happen next. We revisited some old DP repertoire, beginning Can ve la lautzeter mover, with Milos conjuring bird noises on his rebec from up in the gallery, then morphing into Pulcherima rosa from C16 Prague. Then we were into new territory with Godric’s oldest songs in the English language, and on through Dowland, Holst, Vaughan-Williams, ending up with some Alternative History pieces by Sting and Tony Banks. We finished with Finisterre, and when I announced it as our anti-Brexit song there was an outbreak of spontaneous cheering which was  deeply touching.

We were in beautiful Dobrss, about halfway between Prague and Salzburg and so deep in the Czech countryside that your Satnav probably won’t find it. Yet people came from Prague and even Bratislava to hear us. The Dobrsska-Brana festival is a wonderful combination of local hospitality and international music making – a big thankyou for inviting us. There’s a comprehensive review (in Czech) of the first part of the festival in JazzPort by Michal Sykora  here (with some stunning pics and video).

The good people of Dobrss were obviously well aware of the giant cock-up that is about to befall us Brits:

That’s the last Dowland Project gig in the diary for this year, but we will be on the road again in Germany in 2020. In the meantime I’ll be doing duo recitals with both Ariel and Milos, and Ariel and I will get together for more Alternative History in Sweden and Spain in the autumn. My next gigs are with Trio Mediaeval in the UK and Germany next month: Machaut and the Kings of Cyprus.

 

Summer concerts

Friday, August 2nd, 2019

A Singer’s Guide to Britain

Some weeks ago Jacob Heringman and I did some recording in the Treasurer’s House for  a forthcoming BBC Radio 4 series ‘A Singer’s Guide to Britain‘, fronted by Roderick Williams. Our contributions will appear in episodes 2 and 3 transmitted on August 14 and 21. We wittered away at some length between pieces – mostly about our Alternative History view of the world and how different it is from the CD-driven fantasies of today, but no doubt only a fraction of our ramblings will have made the final cut. Roddy Williams, incidentally, used to sing in our expanded Hilliard choir for Arvo Part’s Passio in his youth and once sacrificed his trousers when mine got left behind.

Dobrsska Brana

On August 16 Ariel Abramovich, Milos Valent and I will be doing  a unique Dowland Project one-off in the Czech Republic, not far from Prague. This will be the first time the three of us have performed together, though I have performed many times with both of them in different contexts. As well as revisiting some Dowland Project numbers we’ll be exploring Holst and Vaughan-Williams as well as new versions of songs by Tony Banks and Sting.

Trio Mediaeval quartet

It’s more than twenty years since I first heard  Trio Mediaeval at a Hilliard Summer School in Cambridge.  They invited me to produce their first albums, which went on to be hugely successful on ECM.  Our paths have occasionally crossed since then, and we’ll be getting together again in September for a new programme called Machaut and the Kings of Cyprus.  This explores the connection between Machaut and the mysterious Cypriot-French composers of a generation or two later. The first half will consist of the Machaut mass, together with Cypriot chant antiphons, followed after the interval by a mass and motets from Cyprus.  The first outing is at Hebden Bridge on September 12,  and then in Otterberg on the 14th.

As it’s summer and holiday time, my next post will reveal what tenors do on their days off…

 

The Book of Lost Lute Songs

Monday, July 1st, 2019

photo Guy Carpenter

This coming Saturday Jacob Heringman and I will open our Book of Lost Lute Songs for the final time in the UK this year. The idea behind it is to apply 17th century performance practice to later music, and among other things imagines a counter-factual take on the early music movement which is assumed to have begun in the 1920s. It’s very much the agenda that drives our Alternative History project with Ariel Abramovich and Anna Maria Friman, and which came together in our Amores Pasados album for ECM.

The programme opens with a group of renaissance poems set by Stephen Wilkinson (originally for voice and guitar) and Peter Pope (for choir). These have been intabulated and arranged by Jake for voice and lute as his 17th century forebears would have done, but with one difference: he plays as many of the composer’s notes as will fit on the instrument and I don’t attempt to ‘improve’ the vocal line. It’s a nod in the direction of what might have happened had lute players been around when 20th century composers set renaissance verse.

Next come three of Holst’s Four Songs for Voice & Violin set to medieval texts. We miss out I Sing of a Maiden, partly because Patrick Hadley wrote the definitive version in my book, but also because I’ve improvised on the poem so many times with the Dowland Project I couldn’t trust myself to stick to Holst’s notes. Instead we’ll do Jake’s intabulation of The Thought (also a love song but of the human rather than spiritual variety). I will be doing the complete set with Milos Valent on violin in the Czech Republic next month as penance.

Then we have two short songs by Vaughan-Williams: Along the Field, also originally for voice and violin, and Twilight People, originally for voice and optional piano. The first half finishes with a group of songs by Peter Warlock. It was Warlock’s settings of 17th century verse that inspired our first forays into this imaginary neck of the woods, but two of the three we have selected have poems by his contemporaries Bruce Blunt and Hilaire Belloc. The third is Warlock’s shortest song, How Many Miles to Babylon, a lullaby which I hope to surprise my granddaughters with as it’ll be just about their bed time.

The main reason we like to inhabit the 16th and 17th centuries is not just that the composers are dead, but that the composer-performer relationship would have been completely different when they were alive. That relationship survives in many other compositional genres outside ‘classical music’, and we have been very comfortable asking jazz and rock musicians to create songs for us. The pieces by Sting and Tony Banks in the second half work in exactly the same way as a song from the 17th century: the composer provides a blueprint and our task is to realise the song in whatever way we like; although the composers own the rights, we performers in practice own the music. We’ve never commissioned a ‘proper’ composer, but Late Music asked if we’d do a new piece by Michael Parkin, and we’d already decided to perform the winning song from John Casken’s Alwinton composers competition held earlier this year. This turned out to have two winners: Patrick Gardner and Joshua Brown. So our counter-factual machinations now include assuming the early music movement hasn’t happened at all…except that the Alwinton pieces also have bass viol so we are hoping Susanna Pell will be passing by, instrument at the ready.

Of course it’s not actually as simple as that: Jake has done huge amounts of ‘proper’ music and my concert biog at one time claimed I’d done more first performances than any other English tenor.  Do come and join us on Saturday evening at York’s beautiful St Saviourgate Unitarian Chapel if you’d like to hear how we get on.

 

Amores Pasados

October adventures

Tuesday, October 16th, 2018

October means two things: ten days holiday in Italy working our way across from Lucca to Venice celebrating a significant anniversary, followed by the Dowland Project’s appearance at the Grenzenlos festival in Murnau on the 21st.

The Italian trip turned into yet more of an adventure than I was anticipating when we arrived at the car hire in Pisa to discover my driving license had expired.  After some frantic lateral thinking it became a trip by train, taxi and boat, with only one change of reservation (miraculously). Huge thanks to Trenitalia, all of whose trains ran absolutely on time (and were incredibly cheap), to countless helpful taxi drivers and Vaporetti crew who manhandled the luggage we thought was going to fit in a car – and special thanks to Erica who rescued us in Castell’Arquato and drove us to Fiorenzuola station so we could get to Sabbioneta. It was all total magic until we arrived back at Manchester airport to find the Trans Pennine Express had cancelled our train and the two we eventually caught both developed faults. Italy has a bonkers right-wing government which manages to make the trains work, why can’t ours?

On the Murnau blurb I’m billed, curiously, as a countertenor. I was once billed as a male soprano at a Purcell Room concert eons ago when I had to sing some pretty crotch-tightening arias but I’ve not yet dared to sing falsetto in public (it’s frightening enough in private) and I’m certainly not going to this time (I hope this is a cause for relief rather than disappointment). The evening is called Time Travel, and begins with readings by the actors Undine Brixner and Nicolaus Paryla, before we launch into a short tour of the DP repertoire from Troubadour song to Schubert, plus a digression via Placidus von Camerloher (1718-1782) and a folk song or two.

In November the Alternative History quartet has two concerts in the UK, at the University of York on the 7th and the Greenwich Early Music Festival on the 9th. I think this is the first time we’ve done two consecutive concerts in the country that two of us live in. I guess that post-Brexit our fellow band members won’t be allowed in so make sure you catch us while you can. Then at the end of the month we return to the mainland (our natural home) with a special programme for the Murillo festival in Seville. Sadly, the gigs we were hoping would follow this have been postponed till next year, and our next concerts in Spain will be in February.

In between the AH gigs I have an experimental concert with my former Hilliard Ensemble colleague David James at St Marie’s Cathedral Sheffield on November 10th. This will mark the 100th anniversary of the end of WW1 with a performance of Guillaume Dufay’s L’Homme Arme mass in a version for the two of us and Jacob Heringman (lute).  We’ll also be re-visiting some Byrd, Tallis and Arvo Part that we used to do with the Hilliards.  We’ll be repeating the programme in Marvao in July, and if all goes well we might expand our repertoire for future concerts.

On November 25th I’ll be returning to Triskel Arts Centre in Cork, this time with the Gavin Bryars Ensemble to celebrate Triskel’s 40th anniversary. We’ll be doing Jesus Blood, Winestead and a new Lauda composed for the occasion. The next day we repeat the programme at the National Concert Hall in Dublin as part of Gavin’s 75th birthday celebrations.

Micro-managing…

Sunday, September 23rd, 2018

The South Bound Blues Train c1963

In my first school band I played guitar, as I was the proud owner of a rather unwieldy but incredibly exciting left-handed Hayman. I had an amplifier (10 watts or thereabouts) built from a kit, housed in a beautiful box made by the carpenter husband of my mum’s hair dresser. We chose the singer partly because he owned a microphone. I got to sing sometimes but I never became the singer because he had the gear.  I got into microphone singing proper when the close-harmony group I sang in at university (the legendary Fab Cab that morphed into the semi-mythical ‘sixties freakbeat’ Gentle Power of Song) got to record pop songs for Polydor. So by the time I joined the Swingles I knew quite a bit about how to do it, and was totally seduced by Ward Swingle’s interest in what he called ‘microphone experiments’,  one of the main reasons he decided to re-found his group with English singers. We all learned a lot from Ward, and I still rate singing the Berio vocal pieces as among the most exciting thing I’ve done. It was so inspiring that some of us eventually left the group in order to start Electric Phoenix, an ensemble dedicated to amplified vocal music.  That was when I wrote my very first published article, a piece for The Composer – about microphonic singing, which I believed to be the future of singing, so liberating compared with what I’d been taught at the Guildhall and and elsewhere by a series of famous teachers. Then the Arts Council gave me a grant to fund what I like to think of as the first vocal synthesiser. Electric Phoenix had used individual custom-made effects boxes but I wanted something more elaborate that would also function as a mixer so I could control the whole shebang. It was very clever, but a nightmare to use. The effects –  harmoniser, ring modulator, filters and so on, were all linked by a 10×10 patchboard, so if I wanted to change anything I had to re-patch into one of a hundred holes, singing the while. It mostly worked, but hitting the wrong hole could produce either silence or the loudest fart you ever heard (both equally frightening).

At around the same time I was lucky enough to do backing vocals for all sorts of pop bands, and it coincided with the start of Electronic Vocal Theatre, my duo with the legendary polymath John Whiting (legendary also for his unique blend of coffee, the smell of which permeated everything in his studio and has forever been associated in my memory with Bose speakers).  John had an octophonic sound system – you could move the sound up and down as well as round and round (those were the days!) – and we had some very labour-intensive sets which eventually proved too much for two blokes to put up and take down either side of quite complex performances.    Then I joined the Hilliard Ensemble and forgot about all things tech for a couple of decades.

The Hilliards never used amplification, and more often than not sang in wonderfully resonant churches – very large ones when we started to work with Jan Garbarek. Negotiating with the acoustic was very much what the group up was all about (and I’m sure our ability to engage with the acoustic environment was a key ingredient in our relationship with ECM’s Manfred Eicher). The singing itself wasn’t really of any consequence – it was what came back to you from the building that enabled you to micro-manage the sound and create the performance. In retrospect all those years of singing with a mic seemed rather crude and analogue compared with the organic process of using the building itself as your amplifier.

I still feel that, and at its best I think that amplification basically reproduces the perfection of a CD rather than the uniqueness of the building. But increasingly I find myself at venues where amplification is the norm and I’m expected to provide a technical rider. It reminds me a bit of touring the USA with the Hilliards, arriving at the venue and being asked where we’d like the mics (and worse still, the piano…).  I can remember how to do it, but it seems incredibly unsubtle compared with responding to a building that’s been made for sound.  And yet…as I discovered in Cork last week, with the right sound man and the right repertoire it can work. Once you take away the need to project, much of your classical technique is redundant. It means you can sing more like your speech (something I banged on about a lot in my first book Vocal Authority). You can be far more nuanced, conversational even. Best of all, it meant we could do Finisterre without me sounding like some  cross-over cretin.  My project for early next year when I have a bit of free time, is going to be to develop a repertoire specifically to be done with a sound system.  In the meantime, if you’d like to hear Finisterre, come to Murnau next month and see what John Surman, Milos Valent and Jacob Heringman make of it.

Cambridge History

Tuesday, August 28th, 2018

I’ve been very fortunate to have been associated with Cambridge University Press since my first book Vocal Authority was published in 1998. It was followed by the Companion to Singing, and then a long while later by the History of Singing which I wrote jointly with Neil Sorrell. At one point there was a suggestion that the singing history would be a multi-authored  Cambridge History of Singing, but bearing in mind the impossibility of writing anything definitive about singing, we insisted that ours was only A History. In between I did contribute to two Cambridge histories the latest of which, The Cambridge History of Medieval Music, has just appeared. These huge multi-authored projects are an editorial nightmare and very rarely run to schedule. As it happens I got my chapter in pretty close to the deadline – I was still an academic so these things were important. Long after I’d left academia, and the inevitable and infuriating late submitters having finally come up with the goods, the handsome two-volume set is on the shelves. My chapter is called ‘Issues in the modern performance of medieval music’ and I got it done so long ago that it doesn’t mention the Conductus project that has in its small way revolutionised the performance of 12th century music in the present.  For the outcomes of that research project you have to get another Cambridge publication, Discovering Medieval Song (which I haven’t yet read but which I suspect also doesn’t have much to say about the performing experience which was such a major part of the research programme).

Last weekend I was in Worms with my fellow ‘Conductors’ Rogers Covey-Crump and Christopher O’Gorman for the Tage alter Musik und Literatur  and the first concert in the Via Mediaeval season.  Our performance was as close to 12th/13th century performance ideals as we could make it, and although the musicology will presumably last a bit longer, as is the way with performance the sound of it is now lost for ever. Next week I’ll be in Uppsala with Serikon’s St Bridget project. Unlike Conductus, which was a state funded research project designed to explore 12th century performance practice, the Serikon ensemble references history in a creative and pragmatic way, with musicology used as a starting point to make the music work in the present. Then next month I’ll be taking a further step away from the past with the Dowland Project’s visit to Murnau.  Our programme in the Grenzenlos festival reflects the agenda of the event: no boundaries, so we’re not constrained by musicology at all. The programme will probably open with a troubadour song, a lute improvising, acknowledging the past (though it will be Jacob Heringman’s renaissance instrument, some 500 years later than the song). Then maybe I’ll start on the song itself, or perhaps you’ll hear Milos Valent’s viola or John Surman’s saxophone.

I love exploring historical performance practice (and even once came out briefly as a musicologist) but writing about it is pretty well always going to be out of date before the ink is dry.  The more rigorous connection to the past provided by the Conductus project yielded many unique insights, but even if I had written about it in the Cambridge History I couldn’t have accounted for the evolution of the project over the last five years that culminates in its latest iteration in Worms on Sunday. The books, outdated though they mostly are, will survive in print whereas the performances they deal with disappear into the ether straight away. But that’s always been the problem with musicology: musicians do what they can with what they have,  then it’s gone and we’re off to the pub.

 

Jana Jocif Dowland Project

photo: Jana Jocif

 

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.