:: Hilliard Ensemble


Hilliard Havana tribute

Sunday, October 11th, 2015


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The Hilliard tribute concert by the Cuban Sine Nomine ensemble was amazing. They are a phenomenally gifted group – not remotely like the Hilliards (think more Latin American King’s Singers, if that’s not an oxymoron), but all the more impressive for that. It was very touching that the festival was celebrating both the HE’s 40 years and Arvo Part’s 80th birthday. As I was going to be there anyway, they’d got in touch a few months ago to ask for advice on what pieces to do, and whether it would be OK to do the Morales with trumpet. My only suggestion was not to try and imitate the model but do something that just acknowledged it. The Morales worked well (it’s just a chord sequence so perfect for improvising over) and there was no attempt imitate Jan Garbarek. They also used the trumpet in a Hassler piece that the Hilliards didn’t do but was the kind of piece we might have done.  It worked spectacularly well. The young trumpeter, Yasek Manzano really came into his own in the encore, a fiery version of Joshua fit de battle of Jericho where he could really let rip. It was a wonderful collection of voices – especially the countertenors. Two of them had been winners in the contest earlier in the week, full-on and over the top, and here they were perfect ensemble countertenors. It was an extraordinary transformation and a great tribute to their musicianship and sense of purpose. They’re directed by Maestra Leonor Suarez, who sometimes conducted but mostly left the singers to their own devices. They were usually more than one to a part and were obviously rehearsed to perfection (two of the ways they differed from the Hilliards) but they were perfectly in tune, energetic (they can even dance…), well balanced and blended, and great communicators. It was a privilege to be there, and I’m sure my former colleagues would have loved it too.

 

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Ariel and I spent the afternoon exploring the old city. This was a great adventure. It takes a bit of getting used to as it’s unlike any other city on the planet. There’s no sign of big business, no towering new hotels, no advertisements, no stressed people struggling to get from A to B. It’s the most relaxed and informal city I’ve ever been to. But that doesn’t come close to telling you what it’s actually like. In some ways it’s as though time has stopped since the revolution in the 1950s – many of the grand Spanish baroque buildings are just as they were then or have been left to decay, or patched up to make living quarters or mysterious small enterprises . But just as you think the whole city’s falling apart you come across beautiful restoration. Once you’ve got over the architecture you begin to see the people – the ethnic mix (the whole spectrum from white to black and almost never two of the same shade at the same time – an object lesson in social cohesion), the colourful life of the street. I was very fortunate to have Ariel with me, as whenever anyone approached us he would chat away and they’d end up talking about football or the problems of being an Argentinean (even the drug dealer, a jovial villain who knew he had no hope of a sale but enjoyed a bit of Cuban-Argentinean repartee). I’ve not yet met a Cuban who wasn’t utterly charming. It was very humid, but as the sun went down it cooled a bit and the lights came on. That’s another very distinctive characteristic – minimum lighting creating a sort of gloomy intimacy. It’s often loud, and on the main streets you see those fabulous cars smoking past, but most of the streets in the old city are too narrow for cars. You just have to watch out for bicycle taxis, though even these are very polite in their attempts to avoid you. We forgot to change some local currency, which is what you need to do for the proper Cuban experience (there are two varieties of peso, one convertible and tied to the dollar, the other the one in which Cubans are paid and which you need once you get off the tourist track). That was the only downside (apart from the fume-laden air). We were also approach by people who’d been to our concert – so touching to meet people who had themselves been touched by what we did two nights before.

The Hilliards’ Farewell Concert

Sunday, December 21st, 2014

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The end, when it came, was warm, joyous, touching and stylish. The affection of the Wigmore audience filled the hall and everyone positively breathed love at the guys from the first note (Perotin) to the last (Remember me my Dear). The proceedings began with a pre-concert conversation between the group and the legendary Fiona Talkington (one of the most engaging and clued-up broadcasters around). Penny and I missed the start of the talk as we somehow managed to get lost between King’s Cross and Oxford Circus, and creeping in to the hall I gradually became aware that almost everyone I’d worked with over the last four decades was there. Wonderful to see so many old friends – some of whom had travelled thousands of miles for the occasion. Any worries that it was going to be mawkish or sentimental were dispelled right at the start – as soon as they walked on we knew the guys were going to carry it off. Gordon Jones’ links between pieces were perfectly judged and elegantly done – and it was great to hear once more Piers Hellawell and  Roger Marsh, then finally to see the hilarious entr’act from Heiner Goebbels’ I went to the house but did not enter. It was a great way to go.

The next day those of us most closely associated with the group were treated by them to a magnificent celebratory lunch at Caffe Caldesi. Everyone was still reeling from the night before, and it was a sumptuous and incredibly generous goodbye from David, Rogers, Steven and Gordon. Thankyou guys. What a hard and brave decision it must have been to set a date and end it all – but what a fantastically stylish way to leave the scene.

I’m still reeling too. The Twittersphere is awash with tributes, but Erica Jeal’s Guardian piece encapsulates the occasion perfectly.

 

Happy New Year all!

 

Hilliard Ensemble & Jan Garbarek: the final concert

Sunday, December 7th, 2014

King's chapel smallRob Cowan plays Hilliard tracks 10.30 – 11.00 on BBC Radio 3 every day this week

The audience were so quiet if we hadn’t been able to see (and even touch them) we wouldn’t have known they were there. After the last chord of Parce Mihi had drifted up into the chapel vaulting and disappeared the silence enveloped us all. Time seemed to stop. Then the audience erupted like a football crowd.

 

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In the afternoon we did the longest sound check ever – nearly an hour. Mostly because the guys were reluctant to decide the actual programme. It was all a bit subdued. I was excited to see a copy of the programme booklet which reminded us of the start of it all twenty years ago. Tickets hadn’t been going well until the BBC played a short clip from the Morales, after which their switchboard was jammed with callers wanting to know what it was. The concert immediately sold out and there was such a scrum for CDs at Heffers Sound afterwards that the police were called. That’s when we knew…

 

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Not much talk in the dressing room in Gibbs Building before the start. It must have been so much harder for David, Rogers, Steven and Gordon than for me, and I was wondering how we’d be able to get through it. It was extraordinary to be back – although until Ely a couple of weeks ago I hadn’t done this programme for 15 years in many respects it was as though I’d never been away.

But then we’re off, and it’s business as usual, dispersing to all parts of the building as the first notes begin to occupy the space. I sat on the organ loft stairs for the pieces I wasn’t involved in, so heard a lot of the concert from the shadows just behind the guys. There were many great moments – and some staggering sax playing of course, with Jan playing the building like a giant amplifier. We all had moments when we nearly lost it – when that part of the brain that deals with real emotion got the better of our professional cool. Finally the last piece in the programme arrived – the Brumel Agnus Dei. I stood up in the shadows waiting to join the guys to process through the choir for the last time. Hearing them singing their hearts out I found myself smiling rather than crying, and filled with a huge sense of relief and of a job well done. I thought back to twenty years before, looking through all the Brumel masses, then trying that particular Agnus on the piano, hearing Jan in my head floating over that amazing descending sequence (so modern!), and there it was, sailing on into the dark twenty years later having touched millions of people across the world along the way. Then it was just Remember me my Dear and Parce mihi to survive, and the final walk down the antechapel and out into the moonlight. We’d done it. The last time I walked down the packed antechapel was a wet Christmas Eve in 1960 on my way to the West door to sing the treble solo in Once in Royal David’s City.

 

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Amores Pasados

 

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There will never be another project like the Hilliards’ partnership with Jan Garbarek but the creative life goes on, and by a serendipitous coincidence the end of one ECM project coincides with the genesis of another. Last week at Rainbow Studios in Oslo Anna Maria Friman, Ariel Abramovich, Jacob Heringman and I recorded Amores Pasados, our album of lute songs by Campion, Sting, Tony Banks and John Paul Jones. It was our attempt to confound the difference between art song and pop song, and was another of those gloriously unforgettable ECM experiences. We’d arranged and rehearsed the pieces so we knew it was going to be something special, but as happened with the Hilliards and the Dowland Project, Manfred Eicher sculpted the music into something that none of us could possibly have imagined. We all feel that something extraordinary happened over those three days (two to record and one to mix). The chemistry between the four of us as people and musicians, the rich and rare texture of two lutes and two voices, the direct emotional appeal of music unconstrained by classical convention: mix together with one of the world’s most creative producers at the height of his powers and you have Amores Pasados. We’re hoping for a spring release while we’re still heady with the Oslo momentum, and I’ll put a dedicated page on this site with new photos by CF Wesenberg and details of upcoming gigs.

Trio Mediaeval – Aquilonis

 

The mixing day for Amores Pasados coincided with Trio Mediaeval’s launch event for Aquilonis, which we recorded in St Gerold earlier this year (a very quick turn around!). If there’s a successor to the Hilliard Ensemble perhaps the Trio are it. They first appeared at a Hilliard Summer School in Cambridge 16 years ago, and went on to make 5 (and counting) stunning albums for ECM, four of which I’ve had a hand in producing. Like the Hilliard Ensemble, they don’t claim to be a dedicated early music group (despite the name…) but have established a unique persona that transcends conventional categories, a synthesis developed from their backgrounds in early music, folk music and the Scandinavian music education system. Their Oslo concert was exquisite – beautiful singing (and with a surprise appearance of the next generation of wonderful young girl singers). Like the Hilliards at their best, they can transform the simplest chord into something magical.

 

Three Medieval Tenors – Conductus

 

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So what is Rogers Covey-Crump going to be doing post-Hilliard Ensemble? Joining Christopher O’Gorman and me for concerts of the colourful 12th century Conductus repertoire. Our third CD will be released by Hyperion in the spring and at the moment we have concerts and workshops booked in the UK, Germany, Slovenia and Spain. This will be the culmination of several years’ research led by Mark Everist at the University of Southampton.  In 2016 we hope to tackle later medieval music as far as Machaut, and maybe commission some new pieces for the three of us.

 

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The Hilliard Legacy

 

I hope the Hilliards will find a home for the unique collection of scores that they’ve built up over the years, and perhaps one of the members will create some sort of archive. The records of course speak for themselves, and there will presumably be an album or two still come as a result of their live recordings during this final year. In January, when we’ve got over the trauma of December 20th at the Wigmore, I might put up a couple of chapters from my aborted travel diaries of the nineties featuring our adventures in Russia (the Hermitage concert) and Latvia (mostly plumbing…). At the moment they only exist as paper drafts, so they’ll take a bit of typing.

None of the other ensembles that I’ve mentioned above would exist if I hadn’t joined (and then left) the Hilliard Ensemble. The common factor in all of them is ECM, which took the risk with the Dowland Project, Trio Mediaeval, and now the Amores Pasados quartet. And two of the Three Medieval Tenors were the Hilliard tenor section for 17 years, so life goes on… What a great privilege it is to be associated with such musicians and such a record label.

Hilliard/Garbarek at Ely Cathedral

Monday, November 17th, 2014

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Ely rising out of the Fenland mist couldn’t have been a more magical setting for this concert. It was completely sold out – a thousand people or more – and the audience was enchanted by it.  We decided on three of the new pieces I’d brought to try. One worked quite well, another less so, and one we left out by mistake. I also sang in a couple of old  ‘Officium’ pieces that seemed to work just as they had fifteen years ago, and the guys did a mixture of old stuff and more recent material from Officium Novum (including a stunningly beautiful Mother of God, the only piece Arvo Pärt actually wrote for the four of them). And of course Jan Garbarek’s saxophone, funky, lyrical, discreet and brash in turns, rocked the very stones. We didn’t do Parce mihi (maybe in Cambridge…) – which someone once famously said is what Coltrane hears in heaven. That assumes heaven is somewhere in the misty north – the earthy reality of Jan’s playing is more a case of a very personal Nordic modality energised by the ghost of Coltrane’s boundless imagination.

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I’d expected to feel sentimental – Penny and Ned were there, just as they’d been at the very first gig in Cambridge twenty years ago, and they were quite touched by the occasion – but it was somehow easy just to slip into business as usual and not think too hard. I did allow myself a nano-second of wondering what it would be like if I hadn’t left the group when I did – and decided that on balance everything was as it should be: the guys had honed an incredibly successful collaboration into something that has made a huge impact all over the world, and having helped to set it going I then had the whole York experience and the adventures of the Dowland Project and countless other schemes over the ensuing decade and a half.  I’m looking forward to the grand finale in Cambridge, and I think it’ll feel right – a proper end to a project that everyone has loved. All in all, we’ve been incredibly fortunate.

 

Incidentally, the Song School where we assembled before the start was equipped with a dart board and bottles of water that are brought from France each month (as well as a cache of even more interesting lubricants). Cathedral vestries weren’t like that in my day.

 

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Rogers Covey-Crump, Christopher O’Gorman and I currently have around a dozen concerts pencilled for next year in the UK, Germany, Slovenia, Spain and Belgium as the Conductus research project enters its final phase. More details in a week or so. The third Conductus CD will be released by Hyperion in June.

 

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Hilliards & Jan Garbarek final gigs

Thursday, November 6th, 2014

The Hilliards’ last ever tour is drawing to its end and I’ll be joining them in Ely and Cambridge for two of the last concerts with Jan Garbarek. I still find it hard to believe that they’re really stopping, but everything they’ve said seems to confirm it. On a more positive note, it does mean that Rogers Covey-Crump can join me and Chris O’Gorman next year in our Medieval Tenors Conductus project without having to squeeze us into his Hilliard schedule.

 

The Ely gig is on November 15th between their two Temple Church concerts. The cathedral is one of the most magnificent medieval buildings in Europe and  whatever we do should sound fantastic in there.  The very last concert with Jan, in King’s Chapel, is sold out, so unless you’re a lucky ticket holder these three events will be the last chance to hear this extraordinary line-up. I know many old friends are coming to Ely, and I just hope I can remember how to do it (having not sung with Jan since 2001). I’ve been asked to find ‘a couple of pieces’ for five voices. This has been a rather poignant task as there was a brief period when Steven Harrold and I overlapped and we considered doing regular five-voice programmes, and while looking for repertoire that might work with saxophone I came across all sorts of stuff that we could have done had history taken a different turn.   I hope some of it will work with sax. I’ve got around half a dozen possibilities and we’ll try them out with the five of us before selecting which ones to sing to Jan, and he’ll  then tell us which ones he thinks will work. In keeping with the group’s time-honoured approach to this project there won’t be any actual rehearsal:  we decide on the piece and where it comes in the programme, and leave the rest to the instant chemistry between voices and the magic instrument. So I’ve gone for a mixture of Latin  renaissance ‘Officium’ type music that I’m pretty sure will work, and more risky material in French and Spanish that might use space and a more contemporary approach. Of course the guys may not like any of it, and even if they do… none of it might work…

Jan Garbarek and David James will be reminiscing about the collaboration on BBC 4’s Front Row on Thursday 14th November at 19.15 (http://www.bbc.co.uk/iplayer).

 

Amores Pasados

Between these two gigs I have my latest ECM adventure with Anna Maria Friman, Ariel Abramovich and Jacob Heringman at Rainbow Studios in Oslo.  Jake and Ariel have completed their intabulations of the new pieces by Tony Banks and Sting, and we’ve just been rehearsing the new versions of John  Paul Jones’ Amores Pasados with hardanger fiddle and two lutes.  These are stunning pieces and will sit well beside Dowland and Campion as well as our Schubert and Schumann. We are also going to experiment with some Moeran and Warlock in two-lute transcriptions. It will be an album that brings together many different strands of song and (like the Secret History of Josquin and Victoria) treats them all simply as music. Coincidentally, we’ve now agreed the final track order for the Secret History album and it should be out in time for Holy Week gigs next year.

 

Dowland as early music and new music

Friday, October 10th, 2014

 

It’s been a heady two weeks. First Ariel Abramovich and I did a programme of Dowland and Campion (mostly of pieces we hadn’t done before) at the Sounds of Old Almada Festival in Portugal (just across the Tagus from Lisbon).

 

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Then The Dowland Project got together for the Enjoy Jazz Festival at the Old Fire Station in Mannheim.

 

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Both very different, and both exactly what I love to do. The lutesong recital was in an exquisite, tiny chapel – the perfect size and acoustic for voice and lute – so we could really engage the very attentive audience directly with the musical rhetoric. Os Sons de Almada Velha is a new festival (now in its third year), very much community based, and most of the listeners had probably not heard a lute song before. They loved it. Mannheim’s Alte Feuerwache is now a night club and we used a PA to create an acoustic. The audience was a sophisticated cross-section of people who’d learned to trust the eclectic taste of Enjoy Jazz festival director Rainer Kern and are continually exposed to music they haven’t heard before – but in this case to add to the many musics they’re already familiar with.

There was actually an overlap of one piece – Dowland’s Come Again. I loved the cool flexibility we could achieve in the Portuguese church, the intimate dialogue with the lute – it can’t have been that far from the kind of performance Dowland himself might have done, so you feel a real sense of history. But as always I was knocked sideways by the outrageous soprano solos from John Surman in the Fire Station. We tend to do it a bit more rhythmically, with Milos Valent embroidering Jake Heringman‘s lute part, and it’s always a struggle to keep a straight face after one of Surman’s blitzes on the material as the audience is still reeling when I have to start the next verse. The piece survived and was greatly enjoyed by both audiences. The Enjoy Jazz audience demanded a second encore and we’d only prepared one, so I sang One Yeir Begins to the guys (having first owned up to the audience that we’d never done it before) and they joined in and we made a piece. That sort of music making just makes your heart soar. It’s an amazing band to be a part of.

 

The Hilliard Ensemble and Jan Garbarek

The Hilliards and Jan were at the Enjoy Jazz Festival a little before us. Some reviewers have described DP albums as being a kind of coda to the HE/Garbarek project, and it’s certainly true that the Dowland Project wouldn’t exist without the earlier collaboration. The crucial thing they have in common is using early music as a resource, a point of departure. Although the Hilliard Officium and Mnemosyne albums were highly experimental we took the process much further in live gigs; at its most radical we could go on stage with one line of music that I handed to guys as we walked on, saying this is piece number 6 (or whatever) and we’d create something in the moment. It was absolutely exhilarating, and it was the urge to continue that kind of risk-taking that was one of the factors in my decision to leave the group. When Manfred Eicher suggested what eventually became the Dowland Project I had the means to do it.

To my great surprise – and I was very touched by the invitation – the Hilliards have asked me to join them for two of their last concerts with Jan Garbarek and to bring along some new 5 voice pieces for us to do. I’ll be at the Ely Cathedral gig on November 15th and the very last one in King’s Cambridge on December 6th. The King’s concert is sold out, but there are still tickets for Ely  if you’re quick. At the time of writing we don’t know what the new pieces will be or how they will work with 5 of us. We’ll find out on the night.

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Interesting collection of books in the foyer of the Wyndham Hotel Mannheim. I was reading The Rabbit Back Literature Society, and on the table were books on Bacon and veg…

 

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Happy Days to Enjoy Jazz

Wednesday, July 23rd, 2014

 

Gavin Bryars Ensemble in Enniskillen

Lovely time at the Happy Days Festival in Enniskillen last week. Peyee Chen and I sang the rarely-heard Irish Madrigals – Gavin’s setting of J M Synge’s translations of Petrarch – as a prelude to the legendary Iarla ó Lionáird singing both Gavin’s music and Sean Nos songs. We also got to play in Jesus Blood. This is a bit like suddenly finding yourself on stage with a rock star hero of your youth – something you never imagined could happen. I’m no keyboard player (as generations of students will confirm) but I couldn’t say no to Gavin’s invitation to join in in Vilnius last year. Needless to say, I made sure the volume was turned down so low that no one could hear my potentially performance-wrecking efforts, but this time I was a bit more confident and could actually hear myself. It’s an extraordinary experience – the Vilnius and Enniskillen performances were among the most moving musical experiences I’ve ever had. I’m always banging on about performers not experiencing real emotion on stage – that way madness lies – but with so many and simple repetitions you somehow get hypnotized into the real thing. Then there’s that stunned silence at the end as the audience realises it won’t actually last for ever, as the tramp finally leaves the building accompanied by Tom Waites.

I see the Hilliards are there this week doing their amazing Heiner Goebbels theatre piece – one of the last opportunities to catch this if you haven’t seen it.

Secret History

There’s no sign of a release date from ECM, but we’re very excited about our first live concert at the Victoria festival in Avila on August 29th. The Hilliard Ensemble will be there too as artists in residence, so you’ll be able to compare an ‘a cappella’ way of doing things with our voices + instruments realisations. One obvious difference is that the four of us (Anna Maria Friman, Ariel Abramovich, Jacob Heringman and me) will be doing music in five or six parts.

We’ll also be rehearsing our new pieces by Sting, John Paul Jones and Tony Banks for the recording in Oslo later in the autumn.  Ariel and I hope to do the first performances of the Banks pieces in Portugal in October.

Coaching in Germany

I’m delighted to be coaching again with my old friend Werner Schussler in September at the Sing Akademie Saulheim. Ensembles on the course include the wonderful Nobiles from Leipzig, whom we coached in Engers two years ago.

Lutesongs in Portugal

In October Ariel Abramovich and I will spend some time in Seville recording a video before driving to Almada in Portugal for a recital of lutesongs. This may be an opportunity to try out one or two of the new settings of Campion written for us by Genesis keyboardist Tony Banks.

Potter & Abramovich

Dowland Project in Heidelberg

Shortly after this I’ll be in Heidelberg with the Dowland Project for the Enjoy Jazz Festival. The programme will have music from all our albums including the Night Sessions, and will also be a chance to hear our latest foray into Schubert. We’re not intending to do any more recording, so if you want to hear our latest material you’ll have to come to a gig.

Dowland Project

Hilliard Ensemble & Jan Garbarek

The Hilliards are in Heidelberg with Jan Garbarek the previous week. Strange how we seem to be following each other around in this their final year. They’ve just asked me to join them for the very last concert with Jan in King’s Chapel on December 6th – back to where it all began twenty-odd years ago. I hope we won’t be too tearful to sing. The very last concert will be at the Wigmore on December 23rd. Not sure how they’ll be able to get through that one, but I’ll be there cheering them on.

Hilliard Ensemble on Radio 3

Monday, May 12th, 2014

 

In case you missed the Hilliards on The Early Music Show you can catch it here. Lucy Skeaping knew exactly what questions to ask (she’s a fine singer herself – you can hear the two of us with the Broadside Band on Songs of England (or if you prefer a different cover English National Songs)... which, incidentally, has the first recording of the National Anthem and ‘Rule Britannia’ by a marxist (as I then was…).

It was an entertaining and only slightly inaccurate trip down memory lane. Before the group met Arvo Pärt I’d already done the first broadcast performance of his Arbos (directing from the drum…) and was as enthusiastic as Paul Hillier. Curiously, in that same broadcast concert I did Roger Marsh’s DUM – and it’s Roger’s Il Cor Tristo that’s the key work on the Hilliards’ latest ECM album. As well as for Arvo Pärt, Jan Garbarek and Manfred Eicher I have to thank the Hilliard Ensemble for introducing me to renaissance polyphony. I’d barely heard of Josquin or Ockeghem before I joined and hardly knew any Gesualdo. Hearing the excerpt from the Responsoria brought back horrendous memories of negotiating the awful edition we used. To save space the editor didn’t write out any of the repeated sections and the  geography is very complicated. On one occasion I went back to the beginning instead of half way and (unusually for me) ploughed on, insisting I was right, until the others realised where I was and joined me. It did feel a bit of long evening but I didn’t know till afterwards that I’d actually lengthened it by quite a bit.

The Hilliards’ former record companies (or rather the companies to whom the rights have been sold on) also re-release old stuff from time to time. The latest of these is called The Hilliard Sound. It’s a 3-CD set of ‘Renaissance Masterpieces’ – Josquin (from before I joined), Ockeghem and Lassus (with the Kees Boeke Consort). Lucy Skeaping played Josquin’s ‘Mille regretz’ on the show – and it showed how little the Hilliard sound has changed over the years. I was quite sure I could hear myself. The liner notes are notable for bizarre Beatles-type photos and the equally odd promotion of Paul Hillier to tenor.

It was an understated retrospective – perhaps inevitably as it’s an early music show so only showed one side of the group’s repertoire. but there’s no denying that the ensemble has an extraordinarily accomplished body of work to look back on. Recalling the moment Jan Garbarek first took out his saxophone and joined in ‘Parce mihi’ still makes my hair stand on end. Interesting thoughts at the end on what the current members (as Lucy Skeaping kept calling them) are going to do next. Rogers tactfully didn’t mention that he and I will be hooking up for the Three Medieval Tenors Conductus Project next year. We won’t actually be singing Perotin, but it will be music from exactly that period, newly researched by the Southampton Cantum pulcriorum invenire team.  We were half the Hilliard Ensemble for 18 years, so it’ll be great to go on the road again once Rogers has put his feet up for a bit.

 

 

Hilliard dates, Field in Bucharest, Conductus 3

Monday, March 24th, 2014

This is an update of my previous post to test the new subscription facility. I’m afraid existing subscribers will have to re-subscribe to continue getting updates…

 

Hilliard Ensemble in Leeds & Seville

These two gigs were my last ever with the group  unless Rogers or Steven sing themselves out before the frantic final year is finished. It was a return to old stamping grounds –  the Leeds venue (former porn cinema attached to the Opera House…) had memories of gigs with Gavin Bryars and Ambrose Field (we did Being Dufay there), and Seville is where Ariel Abramovich lives and we’ve dome several gigs there. The programme started with the Godric hymns (long thought to be the oldest surviving songs in a form of English but now there’s a bit more competition). I’ve recorded these both with the HE and the Dufay Collective.   It was great to re-visit the C15 English pieces – Plummer, Pyamour, Frye, Sheryngham and Cornysh – all composers that rank as high as Purcell in my book. The second half was Notre Dame repertoire – a change of style compared with the Conductus Project versions of similar repertoire – and for the concert in the extraordinary Seville Cathedral quite a change of acoustic. The cathedral square, incidentally, is the background to the photos of Ariel Abramovich and me on the lute songs page on this site. Seville cathedral is absurdly large for four blokes to sing in, but it was a great occasion – the first time the HE had sung there since we did a Morales mass project about 20 years ago. Seville cathedralIt was great to see Ariel and lute maker Ivo Magherini too – and they made sure we had the best tapas around.  Discussed the final HE Wigmore with Gordon Jones, wondering how they would cope with the last gig ever. I’m not even sure I’ll go to it myself – I’d rather remember Seville as my goodbye to all that. The group never did much in England and the Wigmore can’t really compare with Seville Cathedral.

Jazz in Church Festival Bucharest

Ambrose Field and I had a great time in Rumania – very creative festival (defining jazz very loosely indeed), lovely people and very efficiently organised. Ambrose’ Transmission Cycle is very different from Being Dufay – summoning up glimpses of Arvo Pärt and Charles Ives and yet growing in a distinctive Field of its own. The young string quartet was excellent (Ambrose  conducted just to make sure we all got to the end at the same time). Great to catch up with Pierre Favre, who played percussion on Pärt’s When Sarah was Ninety Years Old which Rogers Covey-Crump and I recorded early on in our Hilliard careers.

 

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Recording Conductus 3 at the NCEM

This was the final CD, and should appear in the autumn. It included a couple of contrafactae – one in French and one in Provencal – and another huge piece that begins as a trio and ends as a duet. Rogers Covey-Crump, Chris O’Gorman and I are looking forward to doing plenty of gigs next year (once Rogers has recovered from the HE farewell tour). We’re applying for additional funding from the AHRC to enable us to do concerts and workshops for free beyond the academic environment. Thanks to all those promoters who have supported this – we hope for good news soon.

 

 

 

History of Singing

Thursday, December 19th, 2013

 

History of Singing paperback

book cover

I know we’re not supposed to support Amazon because of the tax business, but I have to congratulate them on the Potter & Sorrell paperback. I always pre-order a copy of my own albums and publications on Amazon as it’s a good way to know if they’re really out. This time my Amazon copy reached me three days before an email from CUP telling me it would be published on February 13th. CUP helpfully included a link to the book’s CUP page but this turns out to be the one for the American hardback copy (125 US dollars, in case you’re interested).

Victoria in Avila

Anna Maria Friman, Ariel Abramovich, Jacob Heringman and I have our first live performance since the ECM recording a while ago, in Victoria’s home town in August. We hope this will really kick start our alternative history of renaissance sacred vocal music as dynamic accompanied song rather than the usual bland a cappella polyphony.  We’re negotiating for more concerts in Spain around the same time; more details soon. There’s no news of the recording we did for ECM a couple of years ago yet, sadly.

Dowland Project Night Sessions Press

Night Sessions cover

It’s been good to see the reception for the final Dowland Project album. This ensemble was very much an ECM creation and couldn’t have happened on any other label. When the Night Sessions first came out there was a flurry of (mostly quite perceptive) press on the web but the UK print media were much slower to take it up. I recently caught up with the monthlies and was quite touched by reviewers who really seemed to get it. We have no plans for more albums, and it feels good to complete the set with a radical retrospective.  I gather that the University of York Music Department has the DP as one of its Impact case studies to be submitted to the government’s so-called Research Excellence Framework;  very gratifying, though somewhat ironic since we’ve never had any truck with ‘Excellence’ as the government understands the term.

International Record Review had it as one of five Outstanding recordings of the month. Ivan Moody even forgave my ‘extra-terrestrial’ Portuguese pronunciation, and I’m deeply flattered by the references to jazz and smokey night clubs.He concludes:

Barry Witherden enjoyed it in BBC Music Magazine too:

Dominic Clements in Music Web International had some reservations, but sort of got it:

You can find additional reviews, mostly online, in my previous post on the subject, and here’s a sample of thoughts from the blogosphere:

http://classicalmodernmusic.blogspot.co.uk/2013/09/the-dowland-project-john-potter-night.html

http://www.klassikakzente.de/aktuell/klassik-news/artikel/article:222873/magische-nacht-the-dowland-project-veroeffentlichen-night-sessions

http://www.jpc.de/jpcng/classic/detail/-/art/The-Dowland-ProjectNight-Sessions/hnum/1565456

http://www.diariofolk.com/criticadisco/night-sessions-john-potter-and-the-dowland-project/

Hilliards at 40…

If you scroll down or go to here you can read my blog, written as the mini tour went along. I’ll be doing gigs with the group in Leeds (Howard Assembly Rooms) and Seville Cathedral in April. Details soon.