The philosophy of music: or the music of philosophy ?
The University String Sinfonia celebrate music for string orchestra on Day Three of Summer Music Week, directed by Flo Peycelon. The programme included final-year Economics student Jenny Pang in Massenet’s Meditation and second-year Architecture student, Kammy Pike, in Vaughan Williams’ The Lark Ascending, as well as the premiere of a work by Canterbury-based composer, Matthew Brown.
Images © Chris Wenham / University of Kent
Summer Music Week continues in vibrant form with the University Concert and Big Band Gala evening, conducted by Ian Swatman, featuring postgraduate flautist and Music Performance Scholar, Meg Daniel in Piazolla’s meditative Oblivion.
Images © Chris Wenham / University of Kent
Ahead of its performance in the Crypt of Canterbury Cathedral next month, our upper-voices chamber choir, Minerva Voices, will fill the resonant acoustic of Studio 3 Gallery on the University’s Canterbury campus with music ranging from across the centuries.
From Hildegard von Bingen, through works by Brahms, Gounod and Alvin Lucier to contemporary pieces by Russell Hepplewhite and Sarah Quartel, the half-hour programme will ring round the art gallery in an immersive sonic treat for the audience.
The performance is on Weds 1 June at 1.10pm in the gallery in the Jarman Building; join the choir for an evocative celebration of sacred and secular song.
More details on Facebook here.
Colyer-Fergusson Hall will host what promises to be a wonderfully atmospheric event at the end of this month, as pianist Clare Hammond brings a combination of music and film to the concert-hall as part of the Ghosts and Whispers tour.
The project, a combination of live piano pieces haunted by ideas of ‘fragments, last thoughts, elegies and absences’ and specially-commissioned film, embraces music by an eclectic range of composers; before the performance on Friday 27 May, The event beguils with its promise of immersing the listener in a world of illusions and shadows, interweaving works by Mozart, Schubert, Schumann and others with piano miniatures by John Woolrich.
Intrigued at the notion, I caught up with Clare and asked her about some of the ideas behind the project…
How did you decide which composers’ repertoire to pull together ? It’s a wonderfully eclectic mix of composers for the theme of the event.
We wanted to explore fragments – short pieces, many of which are unfinished – and create a rapidly changing tapestry of different styles. Listening to the programme (and performing it!) really is a unique experience. You will hear fragments of pieces by Mozart and Schubert for the first time – ideas for sonatas that never saw the light of day. There are works that muse on death by Janacek, Stravinsky and John Woolrich, a touching Sarabande from Elisabeth Jacquet de la Guerre, and a philosophical puzzle by Robert Schumann. It provides a radically new perspective on familiar composers while the visual elements transport us to a surreal and unsettling world.
How do John’s Pianobook pieces work to hold the programme together ?
John’s Pianobooks are essentially a series of miniatures that explore a myriad of different themes – Goya’s Caprichos (engravings of witches and monsters that form a grotesque counterpoint to Enlightenment ideals), Baudelaire’s Les Fleurs du Mal (The Flowers of Evil), and ‘micograms’ by visionary Swiss writer Robert Walser, highly admired by Kafka but then incarcerated in an asylum for much of his life. While the miniatures are ‘finished’, they are ephemeral and many just evaporate into thin air. They are the perfect partners to these vanishing fragments by more familiar composers, some of which barely register before they disappear.
How do the live music and the filmed content related to one another ?
We created the musical programme first and the Quay Brothers then put together a sequence of fragments from previous films that had been unused – left on the cutting room floor! Music and film are very tightly bound together and precisely synchronised. On the whole, music in a more familiar or tonal style is paired with abstract images, while John Woolrich’s music coincides with these grotesque puppets. The narrative, again, is fragmentary – it promises continuity and then snatches it away.
How would you like / do you hope audiences will respond to the immersive combination of music and film ?
Ghosts & Whispers is so unusual that it is impossible to predict how people will react. I hope that the audience will very quickly feel submerged in this bizarre universe, and that they think back to the piece for many years to come. I have performed it several times now and whenever I return to the work, I find more layers to unpack. It is certainly very macabre and, at times, unnerving but, in providing such an unorthodox perspective, it also brings depth and a wealth of new ideas.
The performance will fill the concert-hall on Friday 27 May at 8pm; book tickets here for what promises to be a unique experience…
Here’s a short video clip of four of this year’s Music Performance Scholars in action, as they performed at the Pop Platform event on the Gulbenkian Cafe stage.
Here are Nathan and Emily also in action at the Deep End, in Medway. Images thanks to the Deep End’s official photographer!
After a lengthy absence, it was good to be back in the richly-resonant acoustic of Studio 3 Gallery, the University’s art gallery, for a performance by the String Sinfonia yesterday.
The #EarBox series of events bringing music and visual art together returned with a programme relating to Le piazze [In}visibili, an exhibition of photographs documenting empty Italian piazzi during the first lockdown in 2020, when normally vibrant social spaces became suddenly silent.
The ensemble’s opening piece, the Chacony by Purcell, took on a greater emotional significance as it rang out against the backdrop of the images, Purcell’s aching dissonances assuming more of an impact. Vivaldi’s Spring picked up on the Italian connection, and in a wonderful moment of serendipity, birdsong in the spring afternoon outside the gallery could be heard in between the movements. Music Scholars Jeni Pang, Alice Nixon and Kammy Pike each took a movement.
Matt Brown’s Solitude at Dusk had one or two ravishing chords, and the performance ended with the weighty Fantasia on a theme by Thomas Tallis, whose main melody (When rising from the bed of death) somehow again took on different overtones in light of the photographic evidence of the impact of the pandemic which surrounded the audience.
Congratulations to the students, and to its director, Floriane Peycelon. #Earbox will return to Studio 3 Gallery again in the future…
The University of Kent Chorus comprises students, staff, alumni and members of the local community amongst its ranks, meeting every Monday night to rehearse towards its termly concerts. A great example of communal music-making, bringing people together in a shared creative endeavour, both from across the University community – librarians, staff in Registry, heads of department, lecturers, members of the University chaplaincy – as well as former members of staff, and people from across the region, working collectively towards a common outcome.
This term, that concert takes place in the Nave of Canterbury Cathedral – in fact, it’s happening in just five days’ time… – and here is the choir in action, rehearsing at the weekend in Haydn’s Nelson Mass with the Symphony Orchestra.
Images © Chris Wenham / University of Kent
It’s a busy time for the Music department, and for the Symphony Orchestra in particular; not only is the annual Colyer-Fergusson Cathedral concert looming, for which the Orchestra is preparing works by Haydn and Mendelssohn – but the musicians are also performing as part of next month’s Composer in Focus event featuring John Woolrich.
Pictured here at a recent weekend rehearsal are the musicians working on Woolrich’s Gesänge der Frühe, which the Orchestra will perform as part of the event on 2nd April, alongside the String Sinfonia and several Music Scholarship pianists, exploring John Woolrich’s music and approaches to composition.
Images © Chris Wenham / University of Kent
