{"id":6591,"date":"2015-04-23T10:11:00","date_gmt":"2015-04-23T09:11:00","guid":{"rendered":"http:\/\/blogs.kent.ac.uk\/music-matters\/?p=6591"},"modified":"2015-04-23T10:11:00","modified_gmt":"2015-04-23T09:11:00","slug":"this-floating-fleeting-world-in-rehearsal","status":"publish","type":"post","link":"https:\/\/blogs.kent.ac.uk\/music-matters\/2015\/04\/23\/this-floating-fleeting-world-in-rehearsal\/","title":{"rendered":"This floating, fleeting world: in rehearsal"},"content":{"rendered":"

As a curtain-raiser to the performance of Tokaido Road<\/em>, which comes to the Gulbenkian Theatre on 23 May, the lunchtime concert the day before is an exploration of the meeting-point between poetry and music for two pianos, set against a backdrop of some of the Hiroshige prints which inspired both\u00a0poetry and opera.<\/p>\n

Pianists Matthew King<\/strong> and myself, together with poet Nancy Gaffield<\/strong>, part of the Creative Writing team in the School of English and author of the original Tokaido Road<\/em> cycle of poems, spent yesterday exploring the programme which we have put together, which intersperses music by Debussy, Ravel and Matthew himself with poems from the cycle, which Nancy will be reading. There is some wonderful connectedness<\/em> between the words and the music – a phrase in\u00a0a poem is echoed by a rising melodic shape; the opening arc of a poem emerges out of a slowly-dying piano chord; a cluster-sonority echoes the tone of one of the Hiroshige prints which is projected above the performers. We spent several hours immersed in floating words and chords in the darkened concert-hall, playing with moving between music and poem.<\/p>\n