The Herne Bay community is currently enjoying the evolving Cellular Dynamics project, as scientific research and live music combine in a two-week residency at Beach Creative, the community’s thriving arts centre
Saturday night saw a performance of music combined with live image- and video-projections by Deputy Head of the School of Biosciences, Dr Dan Lloyd, and Your Loyal Correspondent, set amidst the photographic exhibition accompanying the project, which has been on show since Tuesday and lasts until 1 July. The live piano works performed included John Cage’s hypnotic In A Landscape, the mesmerising Opening by Philip Glass, and pieces by Debussy and Tarik O’Regan, alongside hi-resolution spectroscopy and images drawn from the scientific environment.
The audience enjoyed pre-performance refreshments and a short introductory talk about the project at the University, before the performance. Uniquely amongst the various incarnations of the project which have previously taken place, this one saw both performers sat surrounded by the audience, creating a highly intimate atmosphere, with each piece prefaced by an informal Q&A session.
A display cabinet also presented functional peripherals from the research laboratory as objets d’art; another aspect of looking at the scientific landscape in a creative way.
The exhibition continues at Beach Creative until 1 July, and admission is free; Cellular Dynamics next appears as part of the Norwich Science Festival in October.
Students in the University Chamber Choir had the opportunity to work with one of Britain’s leading composers in rehearsal yesterday, in preparation for singing in the University Carol Service in Canterbury Cathedral next month.
The choir was privileged to welcome Russell Hepplewhite to its usual evening rehearsal, to work on Russell’s Star of the East. It can be a daunting prospect, performing a composer’s work in their presence, but the Choir rose to the occasion magnificently.
Hailed by the Evening Standard as ‘one of the brightest young talents to have emerged in recent years,’ Russell’s award-winning work has been commissioned to critical acclaim by English Touring Opera, and his choral works are part of the recent Genesis Choral Library series launched by Banks Music Publications. His next work, Moonfleet, is set to open at the Salisbury Playhouse in April.
It was a terrific opportunity for the students to get to grips with contemporary music with the composer offering them insights into the creation of the work and its realisation; huge thanks to Russell for coming down from London especially last night; we’re looking forward to unfurling the piece in the majestic Nave of Canterbury Cathedral on 11 December.
Today marks the 150th anniversary of the birth of the American composer, concert-pianist and educator, Amy Beach. She achieved widespread recognition not only for her compositions but also for her career as a concert-pianist, performing in both America and Europe. Known as the ‘Dean of American Composers’ after the premiere of her Gaelic Symphony in 1896, she became a major figure representing women working in the arts at a time when – as still – it was dominated by men, and establishing an identity for herself was a struggle. On concert-stages throughout Europe, she flourished as a performer of both her own works as well as the usual bastions of piano repertoire. Her legacy includes a wealth of choral and orchestral music, songs, a piano concerto (written to demonstrate her own capabilities) and chamber music.
To celebrate her anniversary, here are two pieces from her delightful Children’s Album, Op.36 – a collection which displays her lyrical creativity, a boisterous sense of fun matched with a highly expressive harmonic ear, and also, in the ‘Waltz,’ a wonderful melodic sense tinged ever so slightly with a hint of melancholy. Both pieces are played in the concert-hall by Your Loyal Correspondent.
Amy Beach: Waltz
Amy Beach: March
And here is the charming Columbine from her Op.25 set, Children’s Carnival.
With the start of the summer term, we are delighted to launch our new exhibition here in Colyer-Fergusson Gallery.
A Canterbury Soundscape is the work of photographer and musician, Molly Hollman, and captures the life of the Music department in rehearsal and performance over the past year, combined with stunning images of the local landscape.
The images capture fleeting human moments at the heart of music-making – a shared joke during rehearsals, the opportunity to take a selfie in the Cathedral Crypt, a quick chance to tune an instrument before walking out to perform – as well as magical instances amidst the region’s wildlife and sumptuous scenery.
A Canterbury Soundscape is on display in Colyer-Fergusson Gallery until August, and admission is free; gallery open during normal building hours (including weekends), and there is disabled access. Find out more about Molly’s work on her website here.
Our new exhibition in Colyer-Fergusson Gallery, A Canterbury Soundscape, which opens in ten days’ time, features the work of local prize-winning photographer and musician, Molly Hollman. Combining her passion for landscapes and wildlife with being a professional musician and music teacher, Molly has spent the past year capturing the life of the Music department here at Kent.
With an eye for a dramatic moment and an imaginative sense of space, Molly’s photography breathtakingly captures the spirit of people and of place. Her work turns a fleeting moment into a universal truth, responding to the beauty in landscapes, in venues and the people within them, in the way they interact with each other. Whether in the intimacy of a single flower within a landscape or the intensity of a musician concentrating in rehearsal, her work transcends the temporary moment, turning it into a timeless statement that skilfully captures the dynamic at the heart of what she sees through the lens.
Ahead of her exhibition launch, I caught up with Molly and asked her about her work.
How did you become interested in photography ?
I’ve always been an artist (my parents are both artists and potters) and have enjoyed painting throughout my life, although when my children were born time somehow seemed to disappear…. So I turned to photography, something I’d always enjoyed but never fully immersed myself in until then.
What attracts you most about working with images ?
I love to capture the world around me and have always had a love of nature; with photography I can capture the image as I see it, for posterity. Photographing the candid and everyday is as important to me as the grand and splendid.
What were you looking for in taking the pictures in this exhibition ?
I always try to capture a moment – many of the best photographs have a narrative, making the viewer reflect and be drawn into the scene. Posed photographs are often very staged and reveal no story or emotion.
Are there any photographers you particularly admire, or whose work has influenced you in some way ?
I have many influences, looking at as many photographs as possible is the best way of improving your craft. Aside from the classics, such as Ansel Adams and Henri Cartier Bresson, I like many contemporary photographers, such as Julie Blackmon, Henrik Kerstens and David Chancellor.
What’s been your best/most fortuitous moment taking pictures ?
Any time where the light has been amazing! Be as observant as you can – I won a prize in an international competition with a photograph of birds feeding, they were on a white fence with a white wall behind which then lent a touch of minimalism to the image and made the photograph more powerful.
What’s been your worst ?!
Grey, flat skies (as opposed to stormy skies which I love) are hard to do anything with, as are sobbing toddlers!
People or places ?
I like both, capturing a person’s character in one image is a real challenge that I relish, but my love of nature pulls me outdoors as much as possible. When I do portrait shoots, I try to do them on location if possible, thus combining the two.
A Canterbury Soundscape opens in Colyer-Fergusson Gallery on Monday 8 May, and runs until September; admission is free, the gallery is open during normal working hours, and there is disabled access. Find out more about Molly on her website here.
Currently studying abroad for a year as part of his European Legal Studies with Kent Law School, and a member of the University Chorus and Cecilian Choir, singer Ben Weiland writes from Vienna…
Hello from Vienna! I just wanted to share what I’ve been up to and ask how everything is going with Kent music – I’m missing the Cecilian Choir! I saw that you did the Fauré Requiem recently – very jealous. What an absolutely marvellous work! I remember seeing the programme for the Colyer-Fergusson Cathedral as well which also looked marvellous – Tchaikovsky Symphony 6! I very much look forward to returning to it all in September!
Spending this year in Vienna has been (and will continue to be) an utter delight. It is a thriving city, full of life and excitement. The greatest beauty Vienna has to offer for me is its musical culture, which is unique and unparalleled. I didn’t fully comprehend until I arrived just how central Vienna has been to the history of music. It’s obviously famous for Mozart and Schubert, but Beethoven, Brahms and many other towering figures had lived and composed here. As a result, the current musical tradition is still very strong; you can’t walk around a corner without seeing the famous golden Musikverein poster advertising a concert, or a similar advertisement for an opera at the Staatsoper. Concert-going, I realised early on, is very much both a cultural and societal affair. It’s almost a customary tradition for the Viennese aristocracy to suit up and attend operas and concerts, as if it’s simply a matter of course. This isn’t to say it’s taken for granted, but this is just how life is – the people are surrounded by this supreme musical wealth. However, for someone outside of this aristocracy, the concerts are still very accessible. Ticket prices can be very reasonable depending on certain factors – very often I have decided to go to a concert on the day, which is made possible due to standing tickets (3-4 Euros for the opera; 5-6 Euros for the Musikverein). It cannot be stressed enough, the joy of knowing that every day there is a world-class concert that I could go to if I felt like it.
From a personal standpoint, I was very keen to go to the Musikverein, as this was the home of my father when he studied and played the violin here (before becoming a composer) in his early 20s. He had a month playing in the Vienna Philharmonic, so it was a must for me to attend a concert as soon as possible. I also had to refresh my memory of the great building, as I came here when I was little to attend the concert of my father’s piano trio, performed by the Altenberg Trio. I am reminded of a photo of me standing on the Brahmsaal stage, with the performers at the end of the concert, and naturally it was a very surreal experience for me to be there once again, around 14-15 years later. I have managed to go and hear the superb Altenberg Trio perform twice since being here and it is quite something, hearing wonderful pieces being performed with such a pure beauty. I still get a fuzzy feeling whenever I walk into the Grossersaal (or ‘Golden Hall’), even though by now I must have gone in over twenty times! Its nickname of the ‘Golden Hall’ is very apt, the clue is in the name – there is gold everywhere.
Alongside concert life, I have also been taking part in a lot of singing. Initially, it was just with the University Choir. We had a wonderful first semester, singing Frank Martin’s Mass with the Symphony Choir, and a range of baroque pieces (Palestrina, Byrd) with the Chamber Choir. The highlight, however, has to be the Beethoven’s Ninth Symphony that we performed with the University Orchestra at the Musikverein in September. This was an extraordinary experience! As if I hadn’t been reminded enough, standing on the stage of the Golden Hall it hit me that this is the home of the ground-breaking, incredible piece of music. It was first performed in 1824 here in Vienna, along with so many of Beethoven’s other works. Like with any really great music, regardless of other factors such as the history, it’s very hard to put into words the feelings, emotions and significance of experiencing it – all I can say is that it was a very special evening for everyone involved, something I will remember forever.
Singing in the Symphony choir continues this semester, but the most exciting development since being in Vienna was being invited to sing in a professional choir – the Philharmonia Chor Wien – in productions of Verdi’s opera Rigoletto in an Austrian festival in the summer. Needless to say I was absolutely thrilled by the opportunity, and after already having a week’s rehearsals I am in awe of what the summer promises. The Philharmonia Chor Wien perform regularly at the Salzburg festival and the Baden-Baden festival, and receive engagements from major institutions and orchestras, such as the Berlin Philharmonic and Vienna Philharmonic. I was aware of this before attending my first rehearsal, and indeed I was expecting a high standard, but was still nonetheless taken-aback by the quality of the choir’s sound. As the choir specialises more in operatic music, the sound is different to what I’m used to with more traditional, church choral music. It is different but in a very positive sense; in many ways richer and grander. The eminent chorus master and founder of the choir has very kindly been giving me some lessons, teaching me a real grounding in what is required of an operatic voice. Certainly, my voice has come on a lot in such a short space of time.
This exploration into operatic music has opened my eyes to an area I never had much experience with previously. My musical upbringing has always been with choral, chamber and orchestral music – a wide spectrum but one that can only offer insight to a certain extent into opera. My initial impressions are there is definitely a specific charm to opera that isn’t found in, for example, orchestral music. I am still trying to decide whether I am left overall satisfied to the same degree as with orchestral and choral music, but certainly in the Rigoletto there is a type of excitement and drama to the music that I haven’t come across before. This is ignoring the fact that acting is required in opera as well (something I’m looking forward to engaging in, albeit slightly nervously). Definitely this is one of the many aspects of life here that I wish to try and understand far more by time I leave in the summer, and what better place to learn than to be able to go to one of (if not the) greatest opera institutions in the world – the Wiener Staatsoper – every day if I wanted to!
I could write a small book on the musical life of Vienna, and undoubtedly there is much that I have left out of this short piece. There is so much more to be learnt and experienced throughout this semester, and to enjoy in the summer the numerous Musical festivals Austria puts on show. After my stay here I will have to sit down and try to write out everything that I have seen and experienced – a difficult task! The irony is that I’m actually here to be studying Law, which has been also very stimulating and of course I have been immersing myself in my studies, but music is my love and passion. When an opportunity to be in a place like this comes around, it has to be grabbed with both hands!
I just really wanted to share the experiences I have been having, say hello, and express my looking forward to returning to the University next year. I trust everyone is well at Kent and wish everyone the best for the rest of the year!
With an heraldic fanfare, we’re delighted to say that our new What’s On season is now available to view online, with a mouth-watering programme of events to see you through to July.
As usual, we’ve performances in the majestic surroundings of Canterbury Cathedral with the Chorus and Symphony Orchestra in Tchaikovsky and Puccini for the annual Colyer-Fergusson concert, and the Chamber Choir and Ensemble will fill the Crypt with Fauré’s evocative Requiem in a new chamber edition. The Concert and Big Bands return in March with a dazzling evening of concert band classics and big band swing, and the Musical Theatre Society is back in action too. CantiaQuorum brings its usual eclectic and innovative approach to programming with a new series of concerts, and our popular Lunchtime Concert series ranges from the shores of Scotland to the heady sensuality of Argentinian tango.
A new collaboration with the School of Biosciences forms the backdrop to a concert bringing together live music with beautiful images from its cutting-edge research, which will also be exhibiting in the Colyer-Fergusson gallery throughout the spring term; and there’s a look ahead to warmer weather and seaside pleasures with events to come during our annual Summer Music Week festival in June.
Take a look at all these events and more on our online page here, and download the new season brochure here. We look forward to welcoming you through the doors of Colyer-Fergusson and to our performances elsewhere over the coming months!