We’re at the ‘Making Music’ stand at #kentopenday today. In a change to our usual spot, we’re in Eliot Hall throughout the day, greeting visitors to the campus who want to find out more about making music at the University, music scholarships, and the brand-new music building (the hoarding around the outside started to come down yesterday, and it’s looking very exciting indeed: pictures to come tomorrow, I hope!).
In-spiring future students…
We’ll be keeping you posted as to how we’re getting on throughout the day both here and on Twitter as well.
10.15am; just over an hour since we started, and we’ve see about ten people already; the usual prize for the Visitor from the Farthest-Flung Corner is currently held by someone from Nottingham. Quite a few string-players too… and the coffee is going well.
12pm; halfway through the day now, and over twenty visitors to the stand; the VfFFC award has now gone to a visitor from Colwyn Bay in Wales! Interest in scholarships from drummers, singers and a saxophonist too. Going well, although our voices are starting to tire…more caffeine required, or possibly even lunch…
2pm and we’re into the last hour; a trickle of visitors over lunch means we’ve now met over thirty people. I popped out earlier to take some photos of the exterior of the building, as all the hoardings have now been taken down (they’re on Twitter if you want to view them), which is particularly exciting a milestone to reach: the end is in sight!
3pm and that’s it for today! Good to meet everyone who came to find out about music at Kent, safe travelling home and we look forward to seeing you this time next year, perhaps! We’re off to recover our lost voices, and to go and leap around outside the newly-revealed exterior of the new building in heady excitement. And no, we won’t be tweeting any photos of that…
It’s almost hard to believe that this year is not just the centenary of Cage’s birth, but also the sixtieth anniversary of Cage’s noiseless yet sound-rich, notorious masterpiece, 4’ 33’’. Premièred by David Tudor on August 29 in 1952, the piece has gone on to cause controversy wherever and whenever it continues to be performed.
The BBC Symphony Orchestra performed the UK’s first orchestral version of the piece in a concert dedicated to the music of Cage in 2004.
The original programme cover
Cage himself reflected on the first performance:
There’s no such thing as silence. What they thought was silence, because they didn’t know how to listen, was full of accidental sounds. You could hear the wind stirring outside during the first movement. During the second, raindrops began pattering the roof, and during the third the people themselves made all kinds of interesting sounds as they talked or walked out.
Cage’s piece draws to the fore the interaction between performer, audience and environment, raising the significance of the non-directed elements present during the piece’s performance; ambient, unintentional noise, aleatoric sounds, events outside of the performer’s control and yet deliberately included as part of the experience. The piece makes room for all those surrounding elements over which the performer has no direct control, and makes them a part of it; it makes us listen not to an arranged series of controlled auditory events, but to whatever sonic incidents happen to occur during that defined time-period during which the piece is ‘performed.’ In fact, the only controlled element of the piece is the time during which these events unfold, defined by the raising and lowering of the piano lid in the piece’s original incarnation. Aside from dictating the beginning and end of each of the three movements, everything else is left to chance.
Tuesday marked the centenary of Cage’s birthday, and there have been events marking the occasion worldwide throughout the year including a special BBC Prom dedicated to Cage’s work (for which the back-up system on Radio 3 had to be turned off, a system which kicks in when it detects ‘dead air;’) yet it’s 4’ 33’’ that remains his most notorious, most thought-provoking piece, and arguably one of the most significant works of the twentieth-century. For a piece with no prescribed sound, its impact continues to resonate still.
After an industrious summer of event and programme planning, not to mention the minor task of preparing to move to the new building, I’m delighted to say our new Concert Diary for the Autumn term has now been published online.
Total Brass
The Lunchtime Concert series continues, as we welcome musicians from Total Brass, sitarist Jonathan Mayer, and close-harmony group Sector7 in concerts throughout the term.
University Music Scholars will be giving an informal lunchtime concert in the first week of November – an exciting moment, as it will be the first event in the brand new Colyer-Fergusson music building and its wonderful new concert-hall!
Jonathan Mayer (sitar)
We’ll also be gathering to raise money for Children in Need again this year; come and be part of a whacky world première with a difference, written by yours truly – all you will need is a donation and your mobile-phone, complete with three different ring-tones…
The world-famous Brodsky Quartet continue their fortieth-birthday celebrations in inimitable style, as they bring their ‘Wheel of Four Tunes’ to the Colyer-Fergusson hall. Armed with an array of forty pieces from their hugely eclectic repertoire, the pieces in this concert will be decided by the spin of a wheel in what promises to be a unique event.
Sector7
Finally, the term comes to a grand finale with the inaugural Gala Concert, with the combined ranks of the Chorus, Symphony Orchestra, Chamber Choir, Concert Band and Big Band, in a spectacular evening celebrating the formal opening of the new Colyer-Fergusson music building, complete with two new works especially written for the occasion.
An exciting term ahead: find out more online here.
It’s that time of year again: we’re here once again at the ‘Making Music’ stand for the University’s Open Day.
It’s just after 9.30, and we’ve had six visitors to the stand already, from Birmingham, Staffordshire, West Sussex and elsewhere. This time, we are handily located right next to the Gulbenkian stand and also the Accommodation Office which crucially has a couple of Chuba Chups lollipop carousels (pictured)…
We’ll be liveon Twitter, keep up with all that’s happening at @UniKent_Music as well.
We’ll be reporting live from here throughout the day, follow it all on the blog here.
10.30 and we’re up to eighteen visitors to the stand, second cup of coffee of the morning and the obligatory stock of sweets which the Director of Music brings each time has just been broached; we’re now fuelled by caffeine and Maltesers. Ace…
11.30 and there seems to be a trend of visitors interested in music alongside degrees in History, Law and English. Although not all three at the same time, I should point out. Quite a few saxophonists, too; perhaps I should warn the conductor of the Big Band that, come September 2013, he may well have a Very Big Band on his hands.
12.30pm and the prize for the Visitor from the Farthest-Flung Corner goes to Gabrielle, who has travelled from Belgium: welcome! Still trending on Historians. A visitor from Bath, sadly just pipped to the post for the VF-FC award by Gabrielle: condolences!
2pm and we’re into the final hour, having taken advantage of an ever-so-slight lunchtime lull in visitors to grab sandwiches while we could.
3pm: and that’s it for the day. Over fifty visitors finding out about all the musical activities that happen as part of the student experience at Kent; lots of interest too in the new music building which will open its doors this autumn. A wide spectrum of musical tastes and interests, including lots of interest in jazz; I can see Jazz@5 becoming a regular feature from September 2013 onwards if all theses interested come to Kent! Thank you to all who attended throughout the day, safe travelling back home.
The Director of Music came in to work buzzing this morning, having been to Draper’s Hall in London last night to hear the Brodsky Quartet celebrating their fortieth anniversary in their ‘Wheel of 4-Tunes’ concert, which was broadcast live on Radio 3.
The concert, which by the sounds of it was a wonderfully engaging affair, saw members of the quartet introducing the ideas behind this novel approach to concert programming – pieces performed in the concert are selected at random by the spinning of the wheel – and talking about each of the pieces played.
As will happen when they bring the concert to Kent in the autumn, members of the audience spun the wheel to select each of the works in last night’s concert; Stravinsky’sThree Pieces, the Lutoslawski Quartet in the first half, and Tunde Jegede’s warmly evocative String Quartet no.2 (chosen in a lovely touch by Holly, daughter of viola-player, Paul Cassidy) and Mendelssohn’s op.80 in the second half (the latter chosen by the presenter of the programme, Martin Handley).
The Brodsky will be bringing the wheel, and all forty pieces on it, to the new Colyer-Fergusson Hall in November for what promises to be lively, entertaining and excitingly unpredictable event. Not even the players themselves will know what will feature in the concert; you might hear Debussy, Ravel, Verdi, Beethoven, Britten, Barber – or even one of the pieces the quartet have themselves commissioned. Hopefully they’ll even bring the umbrella with them as well (you’ll have to listen later in the concert for the significance of that…).
The concert was broadcast last night, and is available on iPlayer for a week here.
And here are the Quartet performing another work by Jegede, Exile and Return, together with the composer himself, at the Bury St Edmunds Festival.
The academic year has now come to a close, and last week’s Summer Music celebrations saw the year out in fine style.
Hot on the heels of the traditional battle-of-the-bands competition, Keynestock, the five days of events in Summer Music saw a host of musical activities, each one reflecting a different aspect of music-making at Kent and highlighting musicians from across the University community and beyond, each taking their moment to bid farewell to the end of another year.
Carina Evans
The Music Scholars’ Lunchtime Recital on the first day saw flautist Kathryn Redgers playing Bach, harpist Emma Murton in some jazz, marimba-player Carina Evans in some shimmering percussion textures, and soprano Marina Ivanova in dazzling form with some scintillating top-notes and effervescent cascading semi-quavers in Vivaldi’s Nulla in mundo pax sincera, accompanied by the University Camerata.
Later in the evening, the University Big Band under Ian Swatman enthused the Gulbenkian audience in a vibrant programme, that also saw some robust playing from special guests the Simon Bates Quartet and superb singing from Music Scholar and Big Band vocalist, Ruby Mutlow. Traditionally, there’s a moment when Ian invites all those performing for the last time to take a bow: only two players rose to their feet, leading to the suggestion that, with the influx of new players again next year, it might have to be re-christened the University Very Big Band!
Chamber and Cecilian Choirs in rehearsal
St Mildred’s Church in Canterbury city hosted the Chamber and Cecilian Choirs, who combined in a programme of works for solo and double choirs; the church was packed, and an enthusiastic audience treated to works by Schütz and Van Morrison from the massed combined ranks of singers; there was also Lauridsen, Victoria and Hassler from the Cecilian Choir in the first half, and Barnum, Brahms, Rachmaninov, Lassus and Billy Joel from the Chamber Choir in the second half. String players from the University Orchestra welcomed the audience with some pre-concert quartet music, while the irrepressible tenor section of the Chamber Choir burst into spontaneous barbershop singing during the post-concert refreshments.
Saturday saw the Music Theatre Society topping a highly successful year with There’s No Business Like Show Business! in the Gulbenkian Theatre, a showcase bursting with music from West End shows, Broadway musicals and popular music theatre favourites.
Sunday afternoon saw the culmination of the week and the musical year as a whole, in the annual Music Society Summer Concert, with valedictory performances from the Concert Band, Symphony Orchestra, Chamber Choir and the University Chorus. The Concert Band paid a tongue-in-cheek tribute to the fact that it was the last concert in Eliot Hall – next year, we move to our exciting new music building – with a rendition of The Great Escape, whilst the Orchestra paid its own tribute with the last section of Haydn’s Farewell Symphony, which sees members of the orchestra slowly leaving the stage, leaving only two violins remaining to bring the piece, and the afternoon’s concert, to a close.
University Orchestra in Haydn's 'Farewell' Symphony
The whole series of events across Summer Music really encapsulates what making music at the University is all about. Embracing students, staff, alumni, members of the local community, family and friends, all of whom combine to rehearse and perform on top of their course- or work commitments, the dynamic of music at Kent is all about the community experience. It’s a terrific opportunity for students to pursue their musical interests as an extra-curricular activity alongside their studies, and for staff to find opportunities to step away from the stresses of their professional duties and participate in creative projects throughout the year. Members of the local community also perform in Concert Band, Big Band, Chorus, Cecilian Choir and Orchestra, from all walks of life; from teachers and lawyers to doctors and dentists, all find a warm welcome and a musical outlet at the University.
The tears flowed on Sunday, as students who are graduating from the University this summer saw their last concert coming to a close. But there’s a healthy camaraderie fostered amongst the University’s musical community that often sees graduates returning as alumni, both to attend concerts and also to come back and perform.
With thanks to everyone who has participated in music at Kent throughout this academic year, and good luck and best wishes to all who are graduating. We look forward to catching up with you all again next year, when the Colyer-Fergusson centre for Music Performance will welcome the resumption of music-making in the autumn. Watch this space…
Congratulations to our brothers and sisters over on the Medway campus, who won ‘Society of the Year’ and ‘Most Improved Society’ for the Medway Music Society at the UMSA awards ceremony at the King Charles Hotel last night.
Vice-President and Secretary, Jack McDonnell won Personality of the Year, whilst President this year Ethan Sacre picked up the award for ‘Outstanding Contribution.’
This is some well-deserved recognition for all the hard work the trio of Executives (together with Secretary, Clive Berry) has done to create a vibrant musical society life on the Medway campus, with band nights, competitions, links with local music businesses and charity fund-raising. As anyone who’s followed their activities on Facebook and their blog will know, it’s been a buzzing year both for musical activities as well as other society life on the Medway campus.
Hats off to the team; what will next year bring, I wonder.
My review of last night’s barn-storming gig by the Julian Joseph Trio (and surprise guest) has gone onto the Sounds New Festival’s blog this morning: you can read it here.
A fiery, inventive and terrific gig; and who was the special guest ? Well, you’ll just have to read it to find out…
Photo credit: Peter Cook.
Because it does. Doesn't it ? Blogging about extra-curricular musical life at the University of Kent.
A fiery, inventive and terrific gig; and who was the special guest ? Well, you’ll just have to read it to find out…