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SISTER ACT The Labèques & friends give a female perspective on Minimalism WORLD

Songlines Encounters CLASSICAL



Caledonian Chronicles

Courtney Pine & Zoe Rahman




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Mar  — Aug 2015

FOR YOUR RECORDS Kings Place is home to two stunning performance spaces in the heart of King’s Cross. If you are planning an exclusive listening event, album launch or any other event where world-class acoustics are everything, then we are here to help.

Contact us now to arrange a tour or check availability 020 7520 1461 | LATE BOOKINGS ACCOMMODATED Hall One (pictured) capacity 415 seated | Hall Two: capacity 200 seated or 280 standing 90 York Way, London N1 9AG | King’s Cross

Blue Topaz String Trio in session in Hall One, Kings Place | Photo © Nick White



Simon Broughton, who went to meet all the members of the Shikor Bangladesh All Stars on their home turf, is Editor in Chief of Songlines magazine and co-curator of the Songlines Encounters Festival, which returns to Kings Place this June.

Welcome to our Spring/Summer season at Kings Place After a string of dazzling opening concerts which drew widespread praise, Minimalism Unwrapped continues with events by the Labèque sisters, the Duke and Carducci Quartets and French pianist Vanessa Wagner, who teams up with electronic artist Murcof. But this series is not just about music: look out, too, for our Minimalist poetry events from Poet in the City and the art works on display at the Piano Nobile Gallery. We’re looking forward to welcoming some of Scotland’s finest folk artists for Caledonian Chronicles, from James Grant to Roddy Woomble, Dick Gaughan to Ewan McLennan and Rura. Arriving from all four corners of the globe are the artists starring in Songlines Encounters, now in its fifth edition. Rare visitors the Shikor Bangladesh All Stars headline Saturday night, along with London-based Lokkhi Terra. New this year is an irresistible dance night with Afriquoi, plus a kids’ concert of Balkan-Klezmer magic. A strong classical line-up includes Imogen Cooper and friends, and our resident Brodsky Quartet, who’ll be presenting Zemlinsky’s complete quartets. don’t miss The Continuum Ensemble’s Swept Away series, featuring composers whose music was banned during the Third Reich, and an outstanding cast of singers. Finally, keep an eye on our website ( for more news of the exciting Tête à Tête Opera Festival later this summer. Yes, the time for cocktails by the canal is (almost) upon us…

Peter Millican

Clare Button, who surveys the Scottish folk music scene in Caledonian Chronicles, is an archivist, writer and singer. Edinburgh-based, she writes on folk music for fRoots, English Dance & Song and Stirrings magazines.

Cellist and composer Oliver Coates is our Kings Place Local. He’s not only a regular solo guest, but visits with Aurora Orchestra and London Sinfonietta, and even met his wife at Kings Place, when he was performing and she was working front of house.

Conductor Philip Headlam, who writes on music in 1920s Berlin, is co-artistic director of The Continuum Ensemble, with whom he presents Swept Away, exploring the lost music of Berlin’s pre-war composers.



Mar  — Aug 2015






06 Maidens of Minimalism The Labèque Sisters (above) and Vanessa Wagner give a female perspective while Mikhail Karikis introduces the female composers

18 Kings Place Local Cellist and electronic composer Oliver Coates (above)

10 Roots and Shoots in Bangladesh Simon Broughton meets the Shikor Bangladesh All Stars (above)

44 Courtney’s New Book of Ballads Courtney Pine launches his new album with pianist Zoe Rahman (above) 45 Jazz Listings

17 Our Residents Brodsky Quartet

33 Thirteen Deadly Sins The Red Note Ensemble team up with Brian Irvine and Jennifer Walshe

36 Songlines Encounters Festival line-up

20 Swept Away The lost music of Berlin in the twenties 22 Classical Listings 25 The complete quartets of Zemlinsky 64 Q&A Pianist Imogen Cooper

32 Access All Arias Tête à Tête Festival returns to King’s Cross this summer

34 Contemporary Listings

37 World Listings


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REGULAR 1 Welcome 2 Contents 4 In the house 6 Features


20 Listings 54 Calendar 61 Ticket info 63 Talkback 64 Q&A





14 Caledonian Chronicles Clare Button introduces a prime Scottish line-up, from James Grant to Rura (above)

46 The Secret History of Alice A new biography of Lewis Carroll by Robert DouglasFairhurst (above)

50 Spokesman for the Potato Much loved poet and song-writer John Hegley (above) comes to Kings Place

51 Articulate Forms Works by sculptor Bryan Kneale at Pangolin London (above)

39 The North Wind Doth Blow We welcome Québécois quartet Le Vent du Nord 40 Disco at the Tavern The Demon Barbers XL are a dance band with a difference 41 Folk Listings

48 A Pilgrim Soul Poet in the City celebrates WB Yeats with poet Bernard O’Donoghue 47 Words Listings

52 A ModernDay Sublime Piano Nobile present Alexander Lindsay’s epic landscape photography in Altitude 53 Art Listings



This Season in the House …

Volcán Zapaleri Storm, 2013 (ALTITUDE series) by Alexander Lindsay

Mar  — Aug 2015

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Alexander Lindsay


16 APR – 20 JuN 2015 Alexander Lindsay’s solo show opens at Piano Nobile on the mezzanine level in April 2015


minimalism unwrapped

Mar  — Aug 2015

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minimalism unwrapped


maidens of minimalism Minimalism is not unusual in being a male-dominated arena, but today many of its key performers are female. The Labèque sisters and pianist Vanessa Wagner are just some of the artists participating in Minimalism Unwrapped. Helen Wallace spoke with them and also looks at the female composers featured in the series.

Katia and Marielle Labèque launched their career as a piano duo when Olivier Messiaen overheard them rehearsing his Visions de l’Amen and asked them to record it. They were subsequently swept into the rising tide of the European avant-garde, becoming renowned exponents of Stockhausen, Boulez, Ligeti and Berio, who wrote Linea for them. Later on, Marielle became interested in Baroque repertoire, while Katia delved into rock and jazz, performing with Chick Corea, Herbie Hancock and her now partner David Chalmin. Strangely, perhaps, Minimalist music hadn’t played a part in their performing lives until, in 2009, they gave the UK premiere of Louis Andriessen’s double concerto The Hague Hacking in the Los Angeles. Two years later they became involved in 50 years of Minimalism at Kings Place, and a new door opened. ‘Yes, really that was the start of something new’, says Katia Labèque, on the phone from her Rome studio. ‘We didn’t really have this music in our repertoire until Igor Torónyi-Lalic [curator of the series] approached us about the Kings Place event. When we were younger we had been so absorbed in other new music, we had neglected Minimalism, it didn’t seem to us serious. Now I can appreciate what courage it

took for these composers to go against the grain of the times and to put their talents into something so provocative. They gave birth to a parallel movement, something utterly different – and that needed to happen.’ In 2013 they released and toured their three-CD album Minimalist Dream House featuring music by Howard Skempton, William Duckworth, Philip Glass and Michael Nyman, among others. The concept was to recreate the spirit of the early Minimalist events in art schools, galleries and Yoko Ono’s own New York loft. But this was far from a nostalgia project: one whole CD is devoted to 21st-century works inspired by Minimalism, from Brian Eno, Aphex Twin, Radiohead, Nicola Tescari and Katia’s own band members David Chalmin and Raphaël Séguinier. What excites Katia is the way Minimalism has sparked a new wave of creativity: ‘I can see that this music appeals to a very different group of people, a younger audience, musicians from the world of rock and pop, who identify with Glass and Riley, and have used their ideas to create radical electronic music. It’s been rewarding to harness that energy, and to see where



Mar  — Aug 2015

‘This music appeals to musicians from the world of rock and pop. It’s been rewarding to harness that energy’ the inspiration leads them. My own band became fascinated by this music: David Chalmin wrote Gameland, and our drummer Raphaël Séguinier composed Free to X. It’s built on a rhythmical pattern which gets bigger every time – Terry Riley himself said he really liked it.’ The impact of Minimalism on the sisters’ lives has been farreaching: Philip Glass’s Four Movements for Two Pianos, which they’ll perform at Kings Place (17 April), has become one of their ‘core’ works. ‘It’s changed the way we programme. At first we struggled with it, it was incredibly difficult: how to articulate this rhythmic language – the left hand and right hand play patterns that bear no relation to each other. But it’s actually very lyrical and very intelligent; Glass understands the piano. Eventually we became passionate about it and managed to persuade the Royal Concertgebouw to let us perform it there. We had a standing ovation!’ When they played it in Los Angeles Terry Riley was in the stalls, and came up to them afterwards saying he wanted to write them a concerto. Glass, too, is now writing a new concerto for them. Katia’s keen to talk about Moondog, whose music will also feature in their concert in versions by their band members UBUNOIR. ‘I feel Moondog is overlooked, but in some ways he is the source. He was the real revolutionary who inspired Glass and La Monte Young. He was the outsider, he made music on the street, he was the most crazy, the most anti-

conventional but the most pure. Even Toscanini defended him! He wrote a lot of short pieces that can be performed and transformed: it’s definitely in the spirit of Moondog to experiment with his music.’ If one senses that Minimalism has given the Labèque sisters permission to experiment, recreate and cook up new pieces, it has had a similarly liberating effect on fellow French pianist Vanessa Wagner, who comes to Kings Place in May with the electronic artist Murcof. Known for her wide Classical, Romantic and contemporary repertoire, she doesn’t tend to programme Minimalist works in her regular recitals: ‘It’s very particular and not always easy to mix with the “big repertoire” and still make sense. But these pieces go very well with a project like ours which mixes electronic creation with piano performance. The contemplative aspect of the music and the economy of means leave a large space for Murcof and allow his sounds to flourish. He has some kind of raw talent that makes him create mesmeric, deep, melancholic and spatial tones. He can’t read music but he does have a great instinct.’ She encountered John Cage’s 4’33” as a girl and found it ‘more funny than conceptual’ but soon became fascinated by Morton Feldman’s universe (whose Piano Piece 1952 she’ll perform). When I ask her about the place of women composers in the Minimalist ‘canon’ – or apparent lack of them – she feels it’s part of a wider cultural issue. ‘This is a general problem in the creative world. There aren’t fewer women in art schools or music conservatoires, but they are certainly less visible. Women are doing the work, it’s society that needs to change and allow their creativity to blossom.’ What she has found is a strong personal resonance in Minimalist music: ‘It gives me great satisfaction to play this highly melancholic music that perfectly fits my character. The additional pleasure is that it has allowed me to innovate, and to come up with my own project, which I dreamed of and have now been able to carry out.’

‘The economy of means leaves a large space for Murcof and allows his sounds to flourish’ FRI 17 APR Katia & Marielle Labèque with UBUNOIR Glass, Moondog and David Chalmin

Vanessa Wagner

SAT 23 MAY Vanessa Wagner & Murcof: Metamorphosis Cage, Adams, Pärt and Feldman

minimalism unwrapped

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Meredith Monk

Who are the female Minimalist composers? If La Monte Young is the ‘father’ of Minimalism, then Pauline Oliveros (b. 1932) must be the ‘Mother’. A founding member and director of the San Francisco Tape Music Centre, she pioneered an elemental, ritual musical art, and the concept of ‘Deep Listening’, defined as ‘striving for a heightened consciousness of the world of sound and the sound of the world.’ Her work will be featured in composersound artist Mikhail Karikis’s event with the Juice Vocal Ensemble (25 October). Says Karikis, ‘Oliveros transgresses every boundary, but her engagement with technology and her writing somehow gave her permission to enter that male world’. Quite separately, French electronic pioneer Éliane Radigue (b. 1932) began tape experiments in the 1960s, while Ellen Fullman (b. 1957) developed her ‘long string instrument’ to play organ-like partials in just intonation. These women have always worked at the margins of conventional music, as has Meredith Monk (b. 1942), whose music will also be performed in Karikis’s event: ‘Minimalism is often associated with urban building technologies, mass production, prefabricated repeated units. But with Oliveros and Monk I think you get beyond this façade. The mechanistic aspect is interrogated, rather than celebrated. They are engaging with what it means to be human, to be fragile, at a profound level.’

Julia Wolfe

Claudia Molitor

Monk was an inspiration both to experimental performance artist Laurie Anderson (b. 1947) and to Bang on a Can’s Julia Wolfe (b. 1958), whose quartet Early that summer will be performed by the Smith Quartet beside Monk’s Stringsongs (5 March). ‘Meredith has been such an inspiring role model for me,’ says Wolfe. ‘She’s gone her own way, developed her own craft. She works like a dancer, but pulls things together like a choir, working with voices so precisely, it’s pure theatre. Everything she does has such a strong, clear spirit: it’s not pop, it’s not classical, it’s Monk.’ Karikis’s event will also feature a new work by Claudia Molitor (b. 1974), a sound artist interested in playing with the hierarchies of listening and seeing. ‘I want to question the way we look at Minimalism through the male American lens,’ says Karikis. ‘There’s an important female perspective that gets overlooked, just as the Indian and Eastern roots of much of this music, in mystical drones and patterns, also gets forgotten.’ thu 5 Mar The Smith Quartet plays Bang on a Can: including works by Meredith Monk and Julia Wolfe sun 25 Oct 102 Years Out of Synch: Mikhail Karikis, Juice Vocal Ensemble incl. works by Meredith Monk, Pauline Oliveros and Claudia Molitor For future dates please visit



songlines ENCOUNTERS

Mar  — Aug 2015

Roots  & Shoots

in Bangladesh Simon Broughton travelled to Bangladesh in search of some of the country’s finest and most distinctive musicians, the Shikor Bangladesh All Stars, who will collaborate with London-based Lokkhi Terra at Kings Place’s Songlines Encounters Festival this summer

Rob Fakir strokes his beard and catches my eye with a mischievous stare. He picks up his peacock-headed lute – a dotara – and starts to sing. His voice is rough-edged and lived-in, but as a harmonium and various percussion instruments join in, I realise why he’s considered one of the best singers of his kind. He sings with a directness that means you can’t take your eyes – or ears – off him. I’m at the shrine of Lalon Fakir in Bangladesh. He was a mystic poet and musician who died at the end of the 19th century. Most Bengalis will know some of his poems and to the Baul and Fakir musicians, who are the country’s most distinctive folk musicians, he is a saint. The songs of Lalon are central to their repertory. One of his most famous songs says: ‘Is Lalon a Muslim? Is Lalon a Hindu? He doesn’t know. He’s human.’

Rob Fakir knows around 500 of his songs and has sung here at the shrine of Lalon for the last 40 years – when he’s not away on international tours. Why does he admire him? Because ‘he talks about humanity. If we know about ourselves we can know about the universe and about God, because God lives within us.’ In a part of the world where religion is all too often a polarising force, the appeal of this universal message is clear. At the time of Partition in 1947, East Pakistan was cut from India along religious lines and then in 1971 the two Pakistans fought a bloody war over cultural and political differences, resulting in the formation of Bangladesh. The larger-than-life music of the Bauls is the most celebrated part of Bangladeshi folk culture, but there’s a lot more besides. Rob Fakir is just one member of a superb group of Bangladeshi performers, the Shikor Bangladesh All Stars,

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songlines ENCOUNTERS 13

Shikor Bangladesh All Stars

‘In Bangladesh, unlike India, people are still familiar with their folk music’



Mar  — Aug 2015

‘bhatiali boat songs are typical of Bangladesh, a country with over 700 rivers’

Lokkhi Terra

who are coming to Kings Place for Songlines Encounters Festival in June. ‘Shikor’ means ‘roots’ in Bengali, and with hypnotic grooves driven by the barrel-shaped dhol drum, they exude a vital, earthy sound. In Bangladesh, unlike India, people are still familiar with their folk music – even in the swarming capital Dhaka, with over 14 million people. The songs sung by Shikor’s singer Baby Akhtar come from different regions of the country, but they are widely known and appreciated, although there are few people that perform them with such panache. Baby and her husband, dhol drummer and harmonium player Nazrul Islam, form the core of the group. At their home in Dhaka I get to hear a sample of their songs, ranging from spiritual and philosophical songs like those of Lalon Fakir to romantic bhatiali boat songs, very typical of Bangladesh, a country with over 700 rivers. Baby Akhtar’s voice is coloured with a sunny smile and her hands spontaneously outline the contours of the melody she’s singing. These songs are in her blood and she sings them with love and pride. Nazrul and his brother come from a family of dhol players going back at least as far as their great-grandfather. The drum gives a real punch to the music. One of the other secret weapons of the Shikor group is flute player Jalal. The bansuri bamboo flute is one of the most characteristic instruments of Bangladeshi music, often connected with the river songs. The flute is often a metaphor of love and longing and Jalal is the most soughtafter bansuri player in the country, making the instrument glide, agile and smooth as a bird in flight, weaving its way through the coconut palms.

‘Shikor are the real deal,’ explains pianist Kishon Khan, who has hand-picked the group. ‘Without having to go anywhere they can take you on a thrilling trip across Bangladesh.’ Kishon leads the London-based Anglo-Bangladeshi group Lokkhi Terra and has come to Dhaka to work on a collaboration with Shikor that will premiere at Songlines Encounters. ‘Bangladesh – as opposed to East Pakistan – has had to define itself through its language and culture rather than its religion,’ Kishon continues. ‘Music is integral to this identity, and there is a culture of song found in every village across the country.’ On the world stage, Bangladeshi musical culture is overshadowed by that of India. But hearing the Shikor Bangladesh All Stars, you realise that Bangla music is a distinctive force which deserves to be heard in its own right. ‘Whenever I play the dhol, I am back in Bangladesh,’ says Nazrul, who was recently performing in New York. ‘It’s the living heart-beat of our country.’ SONGLINES ENCOUNTERS FESTIVAL 2015 co-curated by Songlines magazine and Ikon Arts Management THU 4 JUN 6.30pm Film: Mariza & the Story of Fado 8pm Monsieur Doumani + Gisela João 9.30 Afriquoi

FRI 5 JUN 6.20pm Film: Sisters 7.30pm Duncan Chisholm + Mahsa & Marjan Vahdat SAT 6 JUN 2pm She’Koyokh: Kids Concert 6.15pm Talk: Bangladesh Roots Simon Broughton, Kishon Khan and Shikor Bangladesh All Stars 7.30pm Shikor Bangladesh All Stars + Lokkhi Terra


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Mar  — Aug 2015

CALEdONIAN CHRONICLES Just now, Scotland boasts the boldest, wildest and most influential groups in folk music. In anticipation of a Scottish week at Kings Place in April, Clare Button chats with some of its intriguing stars.

Ewan McLennan

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Dick Gaughan

‘Folk music is being enriched by the writing of new songs dealing with contemporary issues and events’

Scotland and its future has been a hot topic of late. Whatever the end result, last year’s independence referendum gave Scotland the chance to assert its identity in the public eye as never before. Of course, folk music got there first. With its ballads, laments, slow airs, thundering reels and rich Scots, Doric and Gaelic tongues, Scotland has long wielded an impressive musical armoury. But recent years have seen the country produce some of the most diverse and boldly original musicians on the British folk scene. While the degree course in Scottish Music offered by Glasgow’s Royal Conservatoire of Scotland continues to turn out accomplished artists, there are also an abundantly democratic pub session scene and clubs for enthusiasts of unaccompanied singing or the ‘muckle sangs’ (long narrative ballads), not to mention a vivacious cultural environment bolstered by events like the Celtic Connections festival. Little wonder, then, that Scotland’s musical tapestry is so colourful. ‘Scotland seems to have an enormous wealth of talent within folk music at the moment,’ agrees Ewan McLennan, one of the freshest new voices on the scene. ‘The musicianship is incredible and there is a rich and virtuosic tradition going right back… There is also a strong history of political folk song that offers social commentary, within the Scottish tradition perhaps more than others.’ Ewan’s own repertoire is full of such songs, including his own composition Joe Glenton, which tells the story of the soldier jailed for refusing to fight




Roddy Roddy Woomble Woombie

Mar  — Aug 2015

‘Scottish music’s ability to raise merry hell in the instrumental department is as innovative as ever’ albums, including a selection of poems set to music, which mark him as one of Scotland’s most distinctive voices.

in Afghanistan, and which won the Alistair Hulett Prize for Political Songwriting in 2013. Ewan’s velveteen voice and shimmering guitar style are equally at home with traditional ballads, and old and new sit shoulder-to-shoulder on his latest album, Stories Still Untold. ‘Traditional songs are being interpreted in new and interesting ways at the moment,’ Ewan remarks. ‘Folk music is being added to and enriched by the writing of new songs that deal with contemporary issues and events. If the tradition is to remain relevant and powerful both of these will need to continue. I hope and believe they will.’ McLennan’s own eloquent songs of social comment are part of a long legacy of Scottish music which is informed by historical themes and yet bang up to date, humanitarian and international in outlook. A trailblazer for this approach is the Leith-born firebrand Dick Gaughan, who has lost none of his verve and passion over his four-decade career. Gaughan’s first love is traditional song, but the rise of Thatcherism inspired him to begin writing and performing songs focused on contemporary issues. Perhaps his best-known contribution is his adaptation of Both Sides the Tweed, a call to let ‘the love of our people succeed’, regardless of nationality. Gaughan’s unmistakeable voice and guitar style are inimitable, but the younger generation has followed in his path in shedding restrictive genre labels to create music in which sincerity and courage is more important than provenance. This refusal to be shackled by genre has been liberating for many current Scottish writers and musicians who are quietly carving out their own distinctive niches, independent of media hype. ‘I don’t tend to think of artists or music specific to genres’, says James Grant, whose sharply insightful songwriting as a solo artist and with chart-hitting band Love and Money draws inspiration from a maelstrom of musical styles. But it was while collaborating with Capercaillie members Karen Matheson and Donald Shaw in the 1990s that Grant rediscovered his purpose: ‘I came to work with them at a time when I regarded the making of music as an incredibly torturous process – with them it was just the opposite,’ he recalls. ‘It put me in touch with why I wanted to play and write in the first place.’ Grant remains active on folk-oriented collaborations, but it is his five acclaimed solo

Grant’s ability to traverse various musical terrains whilst retaining an independent voice is shared by Ayrshire-born Roddy Woomble, who, as a member of chart-hitting band Idlewild, is no stranger to the public eye. But 2008 saw him launching a more introspective and acoustic solo career. His crisp sound and poetic wit get the toes tapping, yet Woomble’s songwriting is finely tuned to emotional states, often mirrored in his evocations of the natural landscape: ‘The wind and the rain, the cruel music of the mountainside,’ he intones on the title track of his 2013 album Listen to Keep. Woomble embodies the spirit of collaboration which characterises folk music, having worked with fellow countrymen including acclaimed fiddler and producer John McCusker, Lau’s Kris Drever, and Sorren Maclean, a guitarist and singer-songwriter from Mull, where Roddy now lives. You are just as likely to hear a solo from the electric guitar as the fiddle, proving that Scottish music’s ability to raise merry hell in the instrumental department is as innovative and unpredictable as ever. One band which has certainly caused a stir is award-winning five-piece Rura, who wryly describe their compelling shakeup of guitar, fiddle, flute, whistle, bodhran and Highland pipes as ‘Folk/Trad/Boom’. Approaching the release of their second album after 2012’s Break It Up, the band are vocal about the need to form fresh young branches from cultural roots. ‘Heritage is huge’, they claim, ‘but pushing it forward, bridging gaps, incorporating experiences and other influences, whatever they are, is critical to making sure its place remains.’ With their passion and energy, the folk who make up Rura are a sure sign that Scottish music is going from strength to strength. ‘To have the kudos of your peers, and get great feedback from musicians that we’ve looked up to for years, is very encouraging,’ they conclude. ‘It’s a very exciting time for the scene.’ CALEDONIAN CHRONICLES 9–11 April 2015

FRI 10 APR Rura (Late Night Show)

THU 9 APR Roddy Woomble + Sorren Maclean

SAT 11 APR Dick Gaughan + Ewan McLennan Trio

FRI 10 APR James Grant + Samantha Whates

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Brodsky Quartet WHEN Quartet in Residence since December 2012 WHO ARE THEY Daniel Rowland (violin) Ian Skelton (violin) Paul Cassidy (viola) Jacqueline Thomas (cellist) HIGHLIGHTS TO DATE Wheel of 4Tunes, Jacqui Dankworth night (40th anniversary celebrations), Shostakovich Quartet series (2012) Elvis Costello’s Il Sogno (2013) Chamber Classics Unwrapped, Panufnik Day (2014) COMING UP Complete Quartets of Alexander Zemlinsky (2 May)

The Brodsky Quartet has been resident at Kings Place since 2012. Founded when cellist Jacqueline Thomas was still at school in 1972, itis at once one of the oldest and themost innovative of all British quartets. It was the Brodskys who ditched black tie for minimalist Issey Miyake in the 1980s, who kicked away the chairs and now play standing up, who co-wrote ElvisCostello’s Juliet Letters album, collaborated with Björk, Theatre de Complicité and a host of artists from Sting, Dave Brubeck, Paul McCartney to Jacqui Dankworth. This May the group perform the

complete Zemlinsky quartets, which includes a UK premiere (2 May). Violist Paul Cassidy spoke to Helen Wallace about their relationship with Kings Place. You’ve been playing at KP for a couple of years now, what are the highlights? Just being in the building is a thrill. I used to visit there with (Chief Executive) Peter Millican when it was still a gigantic hole in the ground. He’s a wonderful visionary and we owe him such a lot for providing us with this iconic, new London space. On a musical level, it's the diversity of what we're able to showcase there that is the highlight. We go from a Shostakovich Cycle to a Costello ballet; an evening with Jacqui Dankworth to the Panufnik Day last December, and in between all that have taken part in the Unwrapped Series, like Chamber Classics Unwrapped, playing Beethoven and Bartók. It's what we've always dreamed of. What are your favourite parts of the building? Arriving and seeing that superb curved exterior; the extraordinary foyer with its escalator leading to all those magical spaces on many levels. Of course, Hall One is the real gem. A perfectlysized, beautifully-constructed, heavenly space with the best acoustic in town.

How is your residency shaping up, any plans you can divulge? We’re extremely proud of our residency and feel that, together with the openminded team at Kings Place Music Foundation, we can continue to present a stimulating programme of events. Our composer-based days, like the Panufnik event we did in December 2014, and our complete cycles of quartets, like the Zemlinsky quartets day we’ll be doing this May, are important to us. How do you envisage it evolving? What we’d like to do is to showcase some of the exciting collaborative projects that we’ve developed. Kings Place could become the London platform for those projects, and also a place we can develop new ideas. How has the Kings Place audience struck you? The audiences seem to be mostly local people looking for something a bit more challenging. They know that Kings Place can provide everything they need for the perfect evening out. Have you ever experienced any surprising incidents at Kings Place? Bumping into Prince was pretty surreal! SAT 2 MAY Brodsky Quartet: Complete Zemlinsky Quartets Discovering Music Study Session with Stephen Johnson 2.30pm Concert I, 4.30pm | Concert II, 6.30pm

20 kings place local

Mar  — Aug 2015

Kings Place Local

oliver coates Photography by Ben Blossom

Oliver Coates, cellist and composer, appears at Kings Place as the principal cellist in Aurora Orchestra, and as an electronic composerperformer in his own right. His collaborations include projects with Micachu, Chris Watson, Bass Clef and Jonny Greenwood, and he has worked with composers from Kaija Saariaho and Thomas Adès to Anna Meredith and Nico Muhly, who wrote a concerto for him. He’ll be playing music from his latest collection, Towards the blessed islands, in Hall Two on Sunday 19 April.

Where’s home for you? I currently rent in Angel. We love it round King’s Cross and Angel and it feels like home. The dream would be to own a home in this area but it seems impossible to be a cellist and do so. One function of an artist is to kick back against corporate ugliness and aesthetics branded according to capitalist values. I try to reconnect people with direct emotions which are unmediated by factors other than love and human expression. What would feature on an Oliver Coates Story map of London? I was born in West London. I grew up in South London, having cello lessons and listening to the pirate sounds of jungle

on Sunday radio. I studied at the Royal Academy in North London, before moving East to Bethnal Green to try and reform my relationship with art and music. Do you remember this area pre-Kings Place? I was in and out of King’s Cross a lot 2006–2009, playing recitals of classical music in small venues around the country and at electronic music festivals when I went abroad. I always loved it round here, a kind of febrile space. What’s your favourite haunt in the vicinity these days? Yo Sushi, St Pancras – eating avocado maki.


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‘I grew up in South London, having cello lessons and listening to the pirate sounds of jungle’

What’s your first memory of Kings Place? Playing Gavin Bryars’s Jesus’ Blood Never Failed Me Yet on the opening night in Hall One. Why has it become a significant location for you? I met my wife here, she was working front of house, and heard me playing The room is the resonator by David Fennessy in Hall One. Memorable musical experiences at Kings Place? I’ve played cello and devised projects with many groups and organisations. My name hasn’t always been on the front. I always push for interesting music on the ground and people who work with great craft, humility and integrity. With Mica Levi and London Sinfonietta we devised Chopped & Screwed here, which was a big risk, but it paid off – paved the way for loads of amazing music afterwards. Tell us about your next performance in the Minimalism Unwrapped series, presented by Cryptic Nights… Partially I’m playing an album show,

music from last year’s record Towards the blessed islands, but with extra pieces by Mica Levi, Ed Finnis and Michael Gordon. I think we’ll include some of the new work with voice and tape-delay with my wife singing. Cryptic Theatre has commissioned a film-maker called Laura Colmenares Guerra to reinterpret some of the pieces. How does your composing mingle with your performing life? I allow them to change and help me grow. I love the discipline and the obedience of interpreting another human’s ideas faithfully. I’m a bit obsessed by issues of gender and collage/cut-ups at the moment – excited about the vinyl reissue of the William Burroughs cut-up tapes this year. I’m also working towards a commission for a new film & music piece with the artist Jeremy Millar at the Only Connect festival in Oslo.

SUN 19 APR Oliver Coates presented by Cryptic Nights (part of Minimalism Unwrapped)




Mar  — Aug 2015

SWEPT AWAY Berlin in the twenties

1920s Berlin

Outstanding singers Anna dennis, Sarah Tynan, Lucy Schaufer and Grant doyle join The Continuum Ensemble for an in-depth exploration of Berlin’s music scene in the 1920s. Conductor Philip Headlam uncovers one of its unsung heroes.

In the Berlin of the twenties, a generation of composers, including Kurt Weill, Ernst Toch and Ernst Krenek, mixed elements from jazz, popular song and serialism to create a bold, astringent new music for a new age. But by 1933, many of them had fled into exile, their music banned, burned, or lost, their careers cut short or irreversibly altered. Vivid mini-operas and Songspiels, cabaret songs, inventive instrumental and chamber works have lain neglected for over 70 years, all ripe for rediscovery. Our series boasts an astonishing number of UK premieres, mostly by Viennese-born Jewish composer Ernst Toch. Toch was, by the late 1920s, considered Germany’s leading composer, along with Paul Hindemith. Like many, he returned from the First World War with a hunger to create

art relevant to his time. He wrote, ‘tonality had exhausted itself’, the new aesthetic ‘… was as refreshing as a plunge into cold water on a tropical summer day’. But by 1933, the Nazis had come to power, and his music was banned. He went into exile in America where he struggled to continue his career, working for Paramount Pictures for ten years and eventually composing seven symphonies. We’re delighted to be giving the UK premiere of his witty opera Egon und Emilie, a 15-minute satire on the pretensions of grand opera, its dramatic and emotional excesses. Scored for seven wind instruments and two singers, it encapsulates the style of the twenties, with its pared-down forces and rejection of opulence and fantasy.


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‘The new aesthetic was as refreshing as a plunge into cold water’ One of the few pieces which survived Toch’s obscurity was his sensational Geographical Fugue. It began as an experiment in speeding up recordings (some of the earliest electronic music), thus altering vowels and phonemes. He then created a version for live performance. The story of how its fame spread is intriguing. John Cage, no less, heard the premiere in Berlin in 1930. Five years later he visited Toch, now living in Los Angeles, and asked if he could publish it in Henry Cowell’s magazine New Music. It became a huge favourite throughout the American choral world, much to Toch’s bemusement. We’ll be performing the entire Gesprochene Musik (Spoken Music), the first two movements of which were only recovered in 2006, the third being the Geographical Fugue.

Ernst Toch

We’ll be featuring the wonderful Sarah Tynan in The Chinese Flute, a beguiling song cycle for chamber orchestra using poems from the same Chinese collection used by Mahler for Das Lied von der Erde. Rather than the densely rich harmonies of Mahler though, Toch captures a lightness and delicacy of sound and colour using whole tones and modal scales, and forms that impart a sense of ritual. Sarah Tynan

Lastly, no series on this period would be complete without a cabaret song evening: the terrific Lucy Schaufer and Anna Dennis will take on the witty, sophisticated songs of Spoliansky and Holländer, examples of early jazz, foxtrots, tangos and blues, spliced with the lyricism of German operetta. We’ve included a haunting song by Dachauprisoner Herbert Zipper, Dachaulied, an incredible anthem of defiance against Nazi oppression which even makes fun of the phrase ‘Arbeit macht frei’. It was passed from person to person in the camp and became a focal point of resistance. Unusually, Zipper managed to escape and had a distinguished career in America as a music educator. Along with illuminating talks on music and cultural life by distinguished musicologist Professor Erik Levi and Dr Deborah Holmes, actors Annabel Arden and Neil Bartlett will be reading poetry, drama and fiction of the period, and we’ll end with with a vital discussion on refugee artists in Europe today.




BBC Singers & The Continuum Ensemble Weill: Das Berliner Requiem

Pre-concert Talk

Unjustly Neglected: How Music was Banned and Forgotten The Continuum Ensemble Opera in Miniature: Toch, Weill & Hindemith

Pre-concert Talk

Art, Film and Literature in Berlin and Vienna during the Inter-War Years

Pre-concert Talk

In Their Own Words: German Poetry, Drama and Fiction of the 1920s Pre-concert Talk


Refugee Artists in Europe Today

Musical Modernism and the Weimar Republic

The Continuum Ensemble Toch: The Chinese Flute Weill: Violin Concerto

The Continuum Ensemble Toch: Violin and Cello Sonatas + other works

Berlin in Light Cabaret-Revue songs in the 1920s

Pre-concert Talk



Mar  — Aug 2015


Rosamunde Piano Trio

Mikhail Rudy (27 Mar)

Mozart & the French – Concert 2 Hall One 6.30pm Online Rates £14.50 – £26.50 Savers £9.50 | LCMS friends discount applies

Boulanger D’un matin de printemps for violin and piano (1917–18) Ravel Sonata for violin and cello (1920–22) Mozart Piano Trio in G, K564 Lalo Piano Trio No. 3 in A minor, Op. 26 Rosamunde Trio’s Mozartean-French mini-series continues with a programme featuring Lalo’s beautifully melodic Third Trio from 1880, and Mozart’s late Trio written in 1788. Also, in the first half are Ravel’s unconventional Sonata for violin and cello written to commemorate Debussy, and Boulanger’s charming Of a Spring Morning in her own arrangement for violin and piano. Hear pianist Martino Tirimo of Rosamunde Trio playing Schubert on 11 Jun (p29)


IT’S ALL ABOUT PIANO! Now in its third year, Institut français’s three-day festival brings together a dazzling number of pianists and events. This year, the festival kicks off at Kings Place, welcoming celebrated French pianist Mikhail Rudy in a multimedia performance, French-Cypriot pianist Cyprien Katsaris in a unique music-and-champagne event and legendary jazz pianist John Taylor for a captivating performance (see p45). The festival continues on 28–29 March at Institut français.



Mikhail Rudy

Pictures at an Exhibition + Metamorphosis Hall One 7pm Online Rates £14.50 | Savers £9.50

Metamorphosis Janáček Piano Sonata 1.X.1905 From the Street (1905) Janáček In the Mists (1912) Janáček On an Overgrown Path (1900–11) (extracts) Pictures at an exhibition Mussorgsky Pictures at an Exhibition (1874) Internationally acclaimed French pianist Mikhail Rudy opens this year’s It’s All About Piano! with a unique multimedia performance. In Metamorphosis (2012), premiered at Paris’s Cité de la Musique, Rudy performs music by Janáček to an animated film inspired by Kafka’s novella and commissioned from the acclaimed Quay Brothers. Pictures at an Exhibition (2010) was created for the Cité’s ‘Art Total’ series: the Mussorgsky is performed in conjunction with animated projections developed from sketches by Kandinsky for a staged version of the work at the Dessau Bauhaus in 1928. Did you know that you can now see the seat view when booking online? This is helpful if, for instance, you’re keen to see the pianist’s hands during the performance.


Cyprien Katsaris & French Bubbles Hall Two 8.30pm | Online Rates £45 (includes tasting of five different champagnes)

A mouth-watering champagne tasting with piano improvisation by world-class French-Cypriot pianist Cyprien Katsaris, including five different champagnes, introduced by Maud Fierobe, oenologist and co-founder of French Bubbles. The opening day of It’s All about Piano! concludes with a performance by jazz pianist John Taylor at 9pm in Hall One. See p45.



Mozart’s Requiem Aurora Orchestra

Hall One 7.30pm Online Rates £19.50 – £39.50 | Savers £9.50

Mozart Requiem in D minor, K626 Miriam Allan soprano Madeleine Shaw mezzo-soprano Andrew Kennedy tenor George Humphreys bass


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Mozart’s Requiem stands as one of the most sublime achievements in European classical music. A stellar line-up of guest soloists join the Choir of Clare College, Cambridge and Kings Place’s resident orchestra, Aurora, under Nicholas Collon, for this performance in the glorious surroundings of Hall One.



Duo Yannoula-Lazaridis

The Art of Piano Transcription Hall One 6.30pm Online Rates £14.50 – £26.50 Savers £9.50 | LCMS friends discount applies

Brahms Sonata for two pianos (predecessor of Piano Quintet in F minor, Op. 34; transc. by the composer) Beethoven Grosse Fuge in B flat, Op. 133 (transc. by the composer) Beethoven Symphony No. 5 in C minor, Op. 67 (transc. Czerny) An unmissable programme that celebrates the art of piano transcription… Pianists Vicky Yannoula and George Lazaridis first tackle two monumental chamber works from the pens of Brahms and Beethoven: the Piano Quintet and the Grosse Fuge and then move on to Czerny’s masterful transcription of an all-time favourite – Beethoven’s Fifth . ChamberStudio: Solem Quartet in Masterclass with Peter Cropper 2.30–6pm Free tickets (subject to availability)



Lorraine McAslan & Victor Sangiorgio Violin-Piano Duo

Hall One 6.30pm Online Rates £14.50 – £26.50 Savers £9.50 | LCMS friends discount applies

Beethoven Sonata No. 5 for violin and piano in F, Op. 24 Spring Finzi Elegy for violin and piano, Op. 22 Brahms Scherzo from F-A-E Sonata Debussy Violin Sonata in G minor, L140 Saint-Saëns Sonata No. 1 for violin and piano in D minor, Op. 75

Scotland-born violinist Lorraine McAslan’s programme starts with the ebullient Spring Sonata, full of graceful melodies. Finzi’s lyrical Elegy follows, contrasting with Brahms’s volcanic Scherzo written for violinist Joseph Joachim. The entirely French second half pairs a wartime sonata from Debussy with Saint-Saëns’s darkly passionate First Sonata echoing Beethoven’s Kreutzer in structure.

THU 16 – SUN 19 APR

MINIMALISM UNWRAPPED Week 5 One of the undisputed highlights of this year-long series is the return to Kings Place of Katia and Marielle Labèque with a programme that features the music of Philip Glass and Moondog (17 Apr). Glass receives further coverage as the Carducci Quartet tackles all of his five string quartets (16 Apr), and O/MODERNT Kammarorkester perform his Third Symphony, alongside music by Arvo Pärt and Erkki-Sven Tüür (18 Apr). Cellist Oliver Coates also returns with musical explorations ranging from Messiaen to Larry Goves (p33)



Carducci Quartet plays Philip Glass

The Five String Quartets

First and the luminous Fifth flank their programmatically rooted siblings: No. 2 is an extract from Glass’s incidental music to Beckett’s play, No. 3 is based on his score for Paul Schrader’s 1985 film, whilst the lugubrious No. 4 was written in memory of the artist Brian Buczak.



Katia & Marielle Labèque Glass and Moondog

Hall One 7.30pm Online Rates £19.50 – £39.50 | Savers £9.50

Philip Glass Four Movements (2008) David Chalmin New work + a selection of Moondog pieces arranged by UBUNOIR Katia & Marielle Labèque pianos UBUNOIR (David Chalmin guitar, electronics & vocals; Raphaël Séguinier drums & electronics) The snapshot mini-series curated by Katia and Marielle Labèque at Kings Place in 2011, ‘50 Years of Minimalism’, became the kernel of inspiration for this year’s theme, and the celebrated duo make a much-anticipated return visit with a programme of music by Philip Glass and Moondog, as well as a new commission from David Chalmin of UBUNOIR. Watch a clip of the Labèques’ performance of Glass’s Four Movements at



O/MODERNT Kammarorkester


Hall One 7.30pm Online Rates £14.50 – £29.50 | Savers £9.50

Hall One 7.30pm Online Rates £14.50 – £34.50 | Savers £9.50

Philip Glass String Quartet No. 3 Mishima (1985) String Quartet No. 1 (1966) String Quartet No. 4 Buczak (1989) String Quartet No. 2 Company (1983) String Quartet No. 5 (1991)

O/MODERNT Kammarorkester Erkki-Sven Tüür Show (Action.Passion. Illusion) for string orchestra (1993) Minimalistic Improvisations Arvo Pärt Tabula rasa for two violins, prepared piano & chamber orch. (1977) Pérotin Viderunt omnes (c. 1200) (arr. for strings) Philip Glass Symphony No. 3 (1995) Arvo Pärt Silouan’s Song (1991) for strings

The Carduccis take you into the intimate musical world of American minimalist Philip Glass as they perform all of his five string quartets. Written 25 years apart, the thoroughly chromatic, introverted


Choir of Clare College, Cambridge (dir. Graham Ross) Aurora Orchestra | Nicholas Collon



Mar  — Aug 2015

O/Modernt Kammarorkester Hugo Ticciati violin, director Thomas Gould violin O/MODERNT (lit. ‘un-modern’) are an integral part of their namesake festival in Sweden and this evening sees their London debut. Their programme explores the art of repetition in sound, juxtaposing the archetypal minimalism of the 13th-century Notre Dame School with hallmark works of 20th-century minimalism by Glass and his Estonian contemporaries Tüür and Pärt. The Minimalism Unwrapped series continues with a concert by cellist Oliver Coates on Sun 19 Apr. See Contemporary Listings, p34



The Fantastical World of Robert Schumann Part of the Word/Play series devised by Lucy Parham Hall One 11.30am Online Rates £14.50 (with coffee or tea) Savers £9.50 (without drink)

Lucy Parham piano Sarah Walker presenter Renowned for her interpretations of Robert and Clara Schumann, pianist Lucy Parham was also the curator of the ‘Schumann Bicentenary 2010’ minifestival at Kings Place. Her recording of their concertos won ‘Critics’ Choice of the Year’ in BBC Music Magazine. In this concert she performs a selection of works by the Schumanns and discusses their extraordinarily complex lives with Sarah Walker of Radio 3. Leonore Piano Trio (30 Apr)


Chilingirian Quartet with Philip de Groote Hall One 6.30pm Online Rates £14.50 – £26.50 Savers £9.50 | LCMS friends discount applies

Haydn String Quartet in B flat, Op. 55 No. 3 (Hob. III:62) Beethoven String Quartet in F minor, Op. 95 Serioso Schubert String Quintet in C, D956 A delightful reunion for the Chilingirians with their recently-retired founding member, cellist Philip de Groote, in a purely Viennese programme. They play Schubert’s timeless C major Quintet, which was last year’s No. 1 ‘Chamber Classic’ as voted by you. The first half pairs Haydn and Beethoven in two contrasting quartets. Listen to the first movement of Schubert’s String Quintet – from the Chilingirian Quartet’s 1998 EMI recording for – at ChamberStudio: Solem Quartet in Masterclass with Christoph Richter 2.30–6pm Free tickets (subject to availability)



Trio Van Beethoven Hall One 6.30pm Online Rates £14.50 – £26.50 Savers £9.50 | LCMS friends discount applies

Beethoven Piano Trio in G, Op. 1 No. 2 Peter Fribbins Piano Trio (2003–04) Brahms Piano Trio No. 1 in B, Op. 8 The Austrian Trio Van Beethoven make their LCMS debut with works by their

compatriots. Beethoven’s G major Trio, the gentler middle child in his Op. 1, is one of the most serene works that the composer ever wrote. Brahms’s First Trio (1889) is the revised version of a much earlier attempt from 1854. More Viennese connections come in the form of Peter Fribbins’ Trio, which was premiered in Vienna in 2004. ChamberStudio: Minerva Piano Trio in Masterclass with Anthony Marwood 2.30–6pm Free tickets (subject to availability)


THE COMPLETE PIANO TRIOS OF BEETHOVEN The Leonore Piano Trio presents the complete original works for piano trio by Beethoven, alongside those by contemporary British composers David Matthews and Huw Watkins. As well as some of the best-known and much-loved music, the Trio will play some of Beethoven’s early forays into the genre, giving a rare insight into his formative compositional processes. The cycle will also include the Kakadu Variations, often overlooked in favour of the established canon. The series starts on 13 March with further dates in April (see below), October and November 2015.



Leonore Piano Trio

The Complete Beethoven Trios II Hall One 7.30pm Online Rates £14.50 – £29.50 | Savers £9.50

Beethoven Allegretto in E flat (1791) David Matthews Piano Trio No. 2, Op. 61 Beethoven Piano Trio in E flat, WoO 38 Beethoven Variations for piano trio, Op. 121a Kakadu Beethoven Piano Trio in C minor, Op. 1 No. 3 A programme exploring some of Beethoven’s lesser-known early trios. The youthful Allegretto highlights pianistic


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A First and a Feast of Zemlinsky

What do Zemlinsky’s quartets tell us about fin-desiècle Vienna? Artistic thinking was undergoing a seismic change at this time. The quartets of Zemlinsky perfectly chart this evolution, from the world of Mendelssohn to that of Schoenberg. Though inexplicably neglected, these pieces deserve a place at the very top of the quartet repertoire. How did you come upon the early quartet, whose UK premiere you’ll be giving? Antony Beaumont, the Zemlinsky scholar, sent us a copy when he heard we intended to play and record all the quartets. It’s as melodic and transparent as any Schubert: a masterful work, full of invention, melody and catchy rhythms.

Paul Cassidy of the Brodsky Quartet tells Helen Wallace about their fabulous Zemlinsky Quartet series, and the uK premiere which forms part of it.

Alexander Zemlinsky

Take us through the next four quartets. When you hear the hugely Romantic and inventive First Quartet it’s as though you have chanced upon Brahms’s fourth quartet. Then comes the mighty Second, surely a musical milestone in anyone’s book. Its sheer scale is on a par with Mahler, and the language is not dissimilar. It’s a wonderfully temperamental and personal document… not to be missed! The Third Quartet moves into a slightly different, one might say, more mature and individual style. The extraordinary Fourth is ‘in memoriam Alban Berg’ and brings to a dramatic close what is a very rare and tantalising musical feast.

‘I think Zemlinsky was a romantic, believing that music had to come from the heart’ Do you think he reluctantly admired Schoenberg? Undoubtedly, Zemlinsky would have respected the integrity of his friend Schoenberg. I just think he was maybe more of a romantic, perhaps believing that music had to come from the heart, and that the 12-tone idea was somehow too clinical. Listen to the variation movement from the Third Quartet. It’s a humorous jibe directed at Schoenberg’s announcement of his great new idea. SAT 2 MAY Brodsky Quartet: The Complete Zemlinsky Quartets Hall One: 2.30pm ‘Discovering Music’ Study Session with Stephen Johnson Hall One 4.30pm Concert I: Quartets Nos. 1 & 3 Hall One 6.30pm Concert II: Quartets Nos. 2 & 4 Quartet in E minor (UK premiere)


Mar  — Aug 2015

virtuosity, in sharp contrast to the last Op. 1 trio, which interweaves the individual strengths of each instrument. The E flat Trio features a Scherzo – the first example of such a title and form; the renowned Kakadu is a wonderful example of his combination of the sublime and the absurd. Also in the programme is David Matthews’ Second Trio – classical in form and tonality. Tickets are now available for the full Leonore Beethoven piano trio series (13 Mar, 30 Apr, 1 Oct & 11 Nov plus a family concert on 3 Oct Read more at kingsplace.couk/leonoretrio

Stephen Johnson’s insightful Study Session on Zemlinsky’s string quartets kicks off this exploratory day, and is followed by the first of two concerts from the Brodsky Quartet. The hugely Romantic and inventive First Quartet is Brahmsian in both style and sound. No. 3 has moved into a more individual style – endlessly melodic, deeply Romantic and, frankly, ground-breaking in response to his brother-in-law Schoenberg’s newly-found 12-tone system.

with Sergei Nakariakov trumpet and Maria Meerovitch piano

Listen to the Brodsky Quartet’s 2007 recording of Zemlinsky’s Quartet No. 1 (first movement) at

Hear the RVE’s director Yuri Zhislin talk about his ensemble and watch excerpts from their concerts at




Brodsky Quartet

‘As an artist, has there ever been a more interesting and vibrant time and place to live than Vienna at the turn of the 20th century? Imagine a place which the likes of Brahms, Mahler, Schoenberg, Berg, Schiele, Gerstl, Klimt and Freud called home. Fin-de-siècle Vienna witnessed the birth of a new style of music and thinking which proved to be a huge moment in the development of music as a whole. The quartets of Zemlinsky chart this progress perfectly and deserve a place at the very top of the quartet repertoire.’ Brodsky Quartet

Zemlinsky String Quartet in E minor (1893) (UK premiere) String Quartet No. 4, Op. 25 Suite String Quartet No. 2, Op. 15



Brodsky Quartet

Complete Zemlinsky Quartets I Hall One – Study Session 2.30pm (lasts 90’) + interval (30’) + Concert 4.30pm (lasts 60’) Online Rates £19.50 | Day Pass £39.50 (available via Box Office)

Discovering Music Study Session with Stephen Johnson and Brodsky Qt Concert I: Zemlinsky String Quartet No. 3, Op. 19 String Quartet No. 1 in A, Op. 4

Complete Zemlinsky Quartets II Hall One 6.30pm Online Rates £14.50 – £29.50 | Savers £9.50 Day Pass £39.50 (available via Box Office)

The Brodskys’ second concert starts with the UK premiere of the recently discovered E minor Quartet from 1893. The extraordinary No. 4, written in memory of Alban Berg, brought a dramatic close to Zemlinsky’s tantalising feast of quartets. We end with the mighty No. 2, whose sheer scale is on a par with anything Mahler wrote. Not to be missed!



Russian Virtuosi of Europe Hall One 6.30pm Online Rates £14.50 – £26.50 Savers £9.50 | LCMS friends discount applies

Grieg Holberg Suite for strings, Op. 40 JS Bach Concerto for keyboard and strings Arturo Cuéllar Rhapsody for trumpet and strings (World premiere) Yuri Zhislin Sketches for strings (World premiere) Shostakovich Concerto for piano, trumpet and strings, Op. 35 Russian Virtuosi of Europe (dir. Yuri Zhislin)

A colourful programme that starts with Grieg and Bach, followed by two world premieres: Sketches by the ensemble’s founding director, Yuri Zhislin, and a new commission from Colombian composer Arturo Cuéllar. All players return to the stage for Shostakovich’s witty Concerto, which quotes from and parodies several of his own and other composer’s works.



Cavaleri Quartet with Andrew West Hall One 7.30pm Online Rates £13.50 – £24.50 | Savers £9.50

Beethoven String Quartet No. 10 in E flat, Op. 74 Harp Tchaikovsky Andante cantabile from String Quartet No. 1 in D, Op. 11 Brahms Piano Quintet in F minor, Op. 34 The Kirckman Concert Society jointly celebrates its first 50 years and also the life of one of its founders, Calton Younger (1921–2014). The award-winning Cavaleri Quartet – current Kirckman artists – are joined by distinguished pianist Andrew West in performances of three 19th-century masterpieces. A Kings Place Artistic Hire.



ChamberStudio Masterclass with Shmuel Ashkenasi Hall One 12–4pm (three sessions with 10-min break at 1.10pm and 20-min break at 2.30pm) Online Rates £9.50 | FREE to students with valid ID, but still requires booking.

Outstanding young professional chamber groups explore the repertoire in detail in a public masterclass with legendary Israeli violinist and pedagogue Shmuel Ashkenasi. ChamberStudio provides year-round coaching and support for young professional chamber musicians in the early stages of their careers. See also 7 Jun for ChamberStudio Masterclass with celebrated pianist Sir András Schiff.


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Krysia Osostowicz & Daniel Tong (14 & 15 May)


BEETHOVEN PLUS! An exciting new project which comes out of violinist Krysia Osostowicz and pianist Daniel Tong’s knowledge and experience of working together on Beethoven’s 10 sonatas for violin and piano … They had the idea of giving this Beethoven cycle a new dimension by inviting 10 composers to write a short companion piece inspired by one of the sonatas. These new pieces, which will be heard together with the original sonatas, will create conversations between living composers and Beethoven, and shed new light on what Beethoven’s music means to us today. More concerts on 15, 16 & 17 Oct …



The Kreutzer Sonata Pre-concert talk with composers and performers – St Pancras Room 6.30pm FREE event, but a separate ticket is required. Performance – Hall One 7.30pm Online Rates £14.50 – £29.50 | Savers £9.50

Beethoven Violin Sonata in D, Op. 12 No. 1 Jonathan Dove New work* Beethoven Violin Sonata in A, Op. 12 No. 2 Peter Ash A Major Chase* Matthew Taylor Tarantella furiosa** Beethoven Violin Sonata in A, Op. 47 Kreutzer * World premiere ** London premiere

Krysia Osostowicz violin Daniel Tong piano This Beethoven-inspired mini-series kicks off with a programme pairing the two Op. 12 Sonatas in the first half with new commissions from Jonathan Dove and Peter Ash. The second half is devoted to the sublime Kreutzer Sonata;

as a companion to its last movement, Matthew Taylor has written a wildly energetic full-length Tarantella furiosa.



The Spring Sonata Pre-concert talk with composers and performers – St Pancras Room 6.30pm FREE event, but a separate ticket is required. Performance – Hall One 7.30pm Online Rates £14.50 – £29.50 | Savers £9.50

Judith Bingham New work Beethoven Violin Sonata in A minor, Op. 23 Beethoven String Quintet in C, Op. 29 Storm Huw Watkins New work Beethoven Violin Sonata in F, Op. 24 Spring Krysia Osostowicz violin/viola Daniel Tong piano Aurea Quartet Two more new pieces written in response to Beethoven’s violin sonatas will be premiered tonight. Composers


Judith Bingham and Huw Watkins have chosen the energetic Op. 23 and the exuberant Spring Sonata respectively. In between, we hear Beethoven’s C major Quintet – nicknamed Storm after its explosive Presto movement – performed by the Aurea Quartet and Krysia Osostowicz on viola. Beethoven Plus! will continue with three more concerts in October. For details, please visit


Imogen Cooper, Henning Kraggerud & Adrian Brendel

Mar  — Aug 2015

Mozart’s Quartet for flute and string trio combines the perfect spirit of the Rococo age with German sentiment. It is followed here by the much-loved Clarinet Quintet. To end, one of Haydn’s London Symphonies, The Clock, is presented in its arrangement by the great 18th-century impresario Johann Peter Salomon. Minimalism Unwrapped continues with more events in May. Haiku: Small is Beautiful (11 May: see p47 Spoken Word Listing), The Duke Quartet's Hunting:Gathering (22 May) and Metamorphosis – a collaboration between pianist Vanessa Wagner and electronic artist Murcof (23 May:see p34 Contemporary Listings)

Schubert: The Piano Trios


Hall One 7.30pm Online Rates £16.50 – £34.50 | Savers £9.50

Feinstein Ensemble

Schubert Piano Trio No. 1 in B flat, Op. 99 (D898) Schubert Piano Trio No. 2 in E flat, Op. 100 (D929) Henning Kraggerud violin Adrian Brendel cello Imogen Cooper piano Here is a dream trio. Described by The Telegraph as ‘one of the finest pianists now playing’, Imogen Cooper is joined by naturally-gifted Norwegian violinist Henning Kraggerud and one of the most original cellists of his generation, Adrian Brendel, to take on Schubert’s two exquisite late piano trios, some of the last music he ever wrote.

Vivaldi & Bach: Virtuoso Concertos

Hall One 7.30pm Online Rates £14.50 – £29.50 | Savers £9.50

JS Bach Brandenburg Concerto No. 5 in D, BWV 1050 Vivaldi Flute Concerto No. 3 in D, Op. 10/3 (RV 428) Il gardellino

Imogen Cooper talks about the Schubert trios in this issue’s Q & A (see p64)


Florilegium: Friends and Rivals

Chamber Music by Haydn & Mozart Hall One 7.30pm Online Rates £14.50 – £26.50 | Savers £9.50

Mozart Flute Quartet in D, K285 Mozart Clarinet Quintet in A, K581 Haydn/Salomon Symphony No. 101 in D, Hob. I:101 The Clock (arr. for flute, string quartet and fortepiano) Florilegium Ashley Solomon director, flute Colin Lawson clarinet

Adrian Brendel (16 May)

JS Bach Brandenburg Concerto No. 4 in G, BWV 1049 Vivaldi Cello Concerto in B minor, RV 424 JS Bach Violin Concerto in A minor, BWV 1041 Vivaldi Concerto in C for sopranino recorder, RV 443 Feinstein Ensemble Martin Feinstein director, flute, recorder Catherine Manson solo violin Christopher Suckling solo cello Robin Bigwood solo harpsichord The internationally acclaimed Feinstein Ensemble makes its Kings Place debut tonight. Bach was inspired by both the structure and sheer vitality of Vivaldi’s masterpieces, as can clearly be heard in his famous Brandenburg Concertos. The programme also includes the Goldfinch Concerto, an example of Vivaldi’s descriptive music, and ends with the Sopranino Concerto, one of his most skilfully written wind concertos. Listen to the hauntingly beautiful Largo, the second movement from Vivaldi’s Sopranino Concerto, at


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Keyboard Conversations with Jeffrey Siegel


Schubert in the Age of the Sound Bite

Hall One 11.30am Online Rates £14.50 (with coffee or tea) Savers £9.50 (without drink)

Concert-with-commentary followed by a fast-paced Q&A. In our age of limited attention span and constant stimuli bombardment, Schubert’s music continues to captivate audiences. The programme opens with some of his enchanting waltzes and continues with the profoundly moving Sonata in B flat, D960, written a mere six weeks before the composer’s death.

English Chamber Orchestra Hall One 7.30pm Online Rates £14.50 – £29.50 | Savers £9.50

Verdi String Quartet in E minor (arr. for string orchestra) Mozart Flute Concerto in D, K314 Mozart Andante in C for flute and orchestra, K315 Arvo Pärt Cantus in memoriam Benjamin Britten (1977) Haydn Symphony in A, Hob. I:59 Fire English Chamber Orchestra Ana de la Vega flute Gianluca Marciano conductor Verdi’s lush String Quartet and Pärt’s ethereal Cantus for strings and bell provide a perfect foil for the sprightly Classicism of Mozart and Haydn. The English Chamber Orchestra is joined by acclaimed flautist Ana de la Vega under the baton of Gianluca Marciano for this compelling programme of concerthall jewels. A Kings Place Artistic Hire.



ChamberStudio Masterclass with Sir András Schiff Hall One 2–6pm (3 sessions – with 10-min break at 3.10pm and 20-min break at 4.30pm) Online Rates £9.50 | FREE to students with valid ID, but still requires booking.

Outstanding young professional chamber groups explore the repertoire in detail

in a masterclass with recently-knighted Hungarian pianist Sir András Schiff as he pays his first visit to ChamberStudio – a platform providing year-round coaching and support for young professional chamber musicians in the early stages of their careers.


Anna Dennis (soprano) (19 & 21 Jun)

See also 10 May for CS Masterclass with the eminent Israeli violinist Shmuel Ashkenasi.


Martino Tirimo’s Schubert The Great Piano Works III

Hall One 7.30pm Online Rates £14.50 – £24.50 | Savers £9.50

Schubert 4 Impromptus, D935 Schubert Fantasie in C, D760 Wanderer Schubert Sonata in G, D894 Martino Tirimo piano The eminent Schubert interpreter Martino Tirimo’s five-concert series continues with this third recital. The famous Wanderer Fantasy abounds in dazzling virtuosity, and beautiful melodies. The D935 Impromptus feature enchantingly simple folk themes and exquisitely delicate dance motifs, and D894 is one of Schubert's most contemplative sonatas.

FRI 19 – SUN 21 JUN

SWEPT AWAY: MUSIC IN 1920S BERLIN Music in 1920s Berlin and Vienna: cool, sleek, jazzy and very modern. But by 1934, denounced by the Nazi government and their music banned, composers were swept away into exile. Discover the exciting opera, chamber, orchestral and vocal music of Ernst Toch, Kurt Weill and others of this lost generation, much of it performed for the first time in the UK in this minifestival by the acclaimed Continuum Ensemble.



Pre-concert Talk

Unjustly Neglected: How Music was Banned and Forgotten St Pancras Room 6.30pm FREE admission, but a separate ticket is required. Book online or call the Box Office.

Michael Haas, author of Forbidden Music After the cultural freedom of the short-lived Weimar Republic, artists found their work proscribed by the Nazis because they were Jewish, modernist or left-wing. Unable to perform, publish or sell their music, many composers fled into exile (others, of course, died at the hands of the regime), most never to return. Michael Haas, who revived many so-called ‘degenerate’ works for Decca, tells how their work was banned and remained neglected for decades even after the war. SWEPT AWAY

The Continuum Ensemble Opera in Miniature: Toch, Weill & Hindemith

Hall One 7.30pm Online Rates £19.50 – £24.50 | Savers £9.50 Festival Pass £85

Hindemith There and Back (1927) Toch Egon and Emilie (1928) (UK premiere) Weill Vom Tod im Wald (Death in the Forest) (1927) Weill Mahagonny Songspiel (1927)


Mar  — Aug 2015

Donna Bateman soprano Anna Dennis soprano Martha Jones mezzo-soprano Andrew Rees tenor Norbert Meyn tenor Grant Doyle baritone Jimmy Holliday bass The Continuum Ensemble Philip Headlam conductor

BBC Singers (21 Jun)

The Continuum Ensemble are joined by a host of soloists to explore adaptations of opera for modern times. Composers typically created short works, some of only 20 minutes, with contemporary characters, comic settings and satirical plots.



Pre-concert Talk

Musical Modernism and the Weimar Republic St Pancras Room 6.30pm FREE admission, but a separate ticket is required. To book, please call the Box Office.

Professor Erik Levi (Royal Holloway, University of London) As the era of high Romanticism and expressionism receded and Europe grew more urban, modern and sophisticated, music became cool, detached and infused with jazz and popular music, reflecting contemporary life. Professor Erik Levi explores the new music that defined the age and the composers that created it. SWEPT AWAY

The Continuum Ensemble Toch: Violin and Cello Sonatas + other works

Hall One 7.30pm Online Rates £12.50 – £16.50 | Savers £9.50 Festival Pass £85

Toch Cello Sonata, Op. 50 (1929)* Toch Three Burleskes, Op. 31 (1923)* Wolpe Two Dances (1926) Schulhoff Five Pieces for str. qt (1923) Toch Five Capriccetti, Op. 36 (1925)* Hindemith Eight Pieces for flute (1927) Toch Violin Sonata, Op. 44 (1928)* * UK premiere

Hugo Ticciati violin Lisa Nelsen flute

Joseph Spooner cello Douglas Finch piano The Continuum Ensemble


Today’s concert features the UK premiere of four chamber works by Ernst Toch, including his Violin and Cello Sonatas, with their characteristic infusion of new ideas from dance and jazz music such as the tango, blues and foxtrot. Alongside are other chamber works by Hindemith, Wolpe and Schulhoff.



Pre-concert Talk

Art, Film and Literature in Berlin and Vienna during the Inter-War Years St Pancras Room 2pm FREE admission, but a separate ticket is required. To book, please call the Box Office.

BBC Singers & The Continuum Ensemble Weill: Das Berliner Requiem

Hall One 3pm (lasts circa 60’) Online Rates £12.50 – £16.50 | Savers £9.50 Sunday Pass £46 | Festival Pass £85

Krenek Die Jahreszeiten, Op. 35 (The Four Seasons) (1925) Krenek Three Pieces for mixed chorus, Op. 22 (1923)* Wolpe Zwei Chinesische Grabschriften (Two Chinese Epitaphs), Op. 25 (1937)* Toch Gesprochene Musik (Spoken Music) (1930)* Weill Das Berliner Requiem (1928) (alternative version by David Drew)* * UK premiere

Dr Deborah Holmes (University of Kent)

BBC Singers The Continuum Ensemble Philip Headlam conductor

New and distinct styles in theatre, music, opera, novels, painting, design and film sprang up in Germany and Austria in a decade of intensive creativity after the Great War ended. Dr Deborah Holmes explores the art, artistic movements and key creative figures that flourished despite political uncertainty, economic crises and the constant threat of violence on the streets.

Ernst Toch was a pioneer in composing for a choir speaking instead of singing, while the explosive political content of Weill’s Berliner Requiem caused it to be censored at its first (and only) performance on German radio. For their performance, The Continuum Ensemble are joined by the BBC Singers, making their Kings Place debut.


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Pre-concert Talk

In Their Own Words: German Poetry, Drama and Fiction of the 1920s St Pancras Room 4.30pm FREE admission, but a separate ticket is required. To book, please call the Box Office.

Annabel Arden & Neil Bartlett Excerpts from poetry, plays, fiction and journalism from great writers of the Weimar Republic era, including Bertolt Brecht, Georg Kaiser, Alfred Doblin, Ernst Toller and Joseph Roth, read by two of the most noted actor-directors in the UK, Annabel Arden and Neil Bartlett. SWEPT AWAY

Pre-concert Talk

Refugee Artists in Europe Today St Pancras Room 5.30pm FREE admission, but a separate ticket is required. To book please call the Box Office.

Often in danger from their oppressive home nations but distrusted by their host countries, their citizenship and refugee status precarious and uncertain, artists who flee to the West continue to work in difficult circumstances and to hope for change. Experts and activists lead an informative talk and discussion on refugee artists in Europe today.

In this concert The Continuum Ensemble and soloists present a programme of music featuring new and unusual instrumental combinations and exotic, Far East influences which transformed the sound of orchestras in the modern era. SWEPT AWAY

Berlin in Light

Cabaret and Revue songs of the 1920s Hall One 9pm Online Rates £19.50 – £24.50 | Savers £9.50 Sunday Pass £46 | Festival Pass £85

Cabaret and revue songs by Mischa Spoliansky and Friedrich Holländer and songs by Kurt Weill, Wilhelm Grosz and Herbert Zipper Anna Dennis soprano Lucy Schaufer mezzo-soprano Philip Headlam piano Written with great wit and sophistication, songs from cabarets, revues, theatre and film were hugely popular and spread across Germany via the radio and huge, new cinemas. Here you will hear some typical examples and firm favourites.

THU 23 – SUN 26 JUL

IGF Guitar Summit On Sale in Marchl

Now in its second year, this four-day festival and summer school featuring a star-studded line up, offering concerts, masterclasses and lectures. Details will soon be announced at IGF2015.


National Youth String Orchestra Celebrating Nielsen

Hall One 7.30pm Online Rates £12.50 | Savers £9.50

Christina Åstrand violin National Youth String Orchestra Damian Iorio conductor The National Youth String Orchestra, one of the UK’s most prestigious training organisations for young string players, celebrates Nielsen’s 150th-anniversary year in a programme also featuring music by Schubert and Tchaikovsky. The orchestra will be joined by outstanding Danish violinist Christina Åstrand. A Kings Place Artistic Hire.

Lucy Schaufer (21 Jun)


The Continuum Ensemble Toch: The Chinese Flute Weill: Violin Concerto

Hall One 6.30pm Online Rates £19.50 – £24.50 | Savers £9.50 Sunday Pass £46 | Festival Pass £85

Toch Five Pieces for Chamber Orchestra, Op. 33 (1924)* Toch Die chinesische Flöte, Op. 29 (1922)* Toch Miniature Overture (1932)* Weill Violin Concerto, Op. 12 (1924) * UK premiere

Sarah Tynan soprano Hugo Ticciati violin The Continuum Ensemble Philip Headlam conductor


SUNDAYS, 6.30 PM | HALL ONE 22 MAR Rosamunde Piano Trio 29 MAR Duo Yannoula-Lazaridis 12 APR L. McAslan & V. Sangiorgio 19 APR Chilingirian Quartet

& Philip de Groote 26 APR Trio Van Beethoven 3 MAY Russian Virtuosi of Europe

The LCMS promotes weekly Sunday concerts in Hall One. It's been resident at Kings Place since the venue opened in 2008, and can trace its origins to Victorian Sunday-evening concerts in London in the 1870s. The 2015–16 LCMS season will start on Sunday 4 October with Wihan Quartet.



Mar  — Aug 2015

Access all arias April in the Amazon, featuring Lore Lixenberg and Chroma, 2014

‘I want to be gripped, entranced, transported to another world’

The Tête à Tête Opera Festival moved to King’s Cross last year to great acclaim. This summer it returns. Artistic Director Bill Bankes-Jones reflects on the changes involved and on the nature of this dynamic, boundary-pushing phenomenon. How would you describe the effect of the move? It’s been very exciting. Not only has it allowed us to expand, do more in more different venues, reach more audiences, it’s reinvigorated the festival, made us question everything we do. The pop-up operas worked particularly well – we had the freedom to do all sorts of things and not have a policeman move us on. The King’s Cross Central Limited Partnership invested in Tête à Tête and sorted the licenses and bureaucracy, which was fantastic. Their vision of a cultural hub with none of the usual chain stores fits perfectly with our mission to create unique, original art events. How did it work out in Kings Place? Brilliant. Interestingly, Kings Place is the first core ‘classical music’ venue we’ve ever used with Tête à Tête. We’ve always been about getting young composers and librettists into a theatrical environment at an early point in their careers, and we’ve targetted our work at the theatre audience. It’s interesting 18 years in to find ourselves with a mix of theatre, classical and

contemporary music audiences. The creative challenge now is to work out how we concentrate audiences in the foyers, and how we create a grungey, Bohemian feel in what is a shiny, corporate space. How about the University of the Arts? We loved working with a handful of their students but are looking forward to working with so many more this year. One of my favourite pieces last year turned out to be student Claire Blake’s degree-show piece, her dramatic, sonic tour de force I Sing the Body Electric. How do you go about cooking up the festival? I’m a great believer in a conversation over a cup of coffee. The composer Stephen McNeff said the other day that if a young composer comes to him wanting to do opera he sends them to me, because he knows I will just meet them, whoever they are. Whenever I’m feeling tired, I’m energised by those conversations. I want to understand what it is they have in their heart and see if I can help them communicate

that. A lot of creative people feel constipated and they need a vote of confidence to release their ideas. We are the laxative of the operatic world! What are you looking for? I want to be gripped, entranced, transported to another world. And I don’t necessarily care what happens in that other world. I think too many people are stuck in that rather pedestrian, Aristotelian view of drama. There are other ways: audiences could learn a lot from contemporary dance. When does the festival work best? When everyone can converge on a cheap bar – then the conversation about new opera happens and sparks fly.

23 JUL – 9 AUG TÊTE À TÊTE OPERA FESTIVAL See for details.


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THIRTEEN dEAdLY SINS Scotland’s premiere contemporary music group the Red Note Ensemble team up with two Irish originals for an arresting new work at Kings Place in April

Jennifer Walshe

‘The sculpture was a call to fight for the salvation of present and future generations’

Two of Ireland’s most individual artists, singer/composer Jennifer Walshe and composer/conductor Brian Irvine, and three explosive improvisers join Scotland’s Red Note Ensemble for Thirteen Vices. The work was inspired by a controversial sculpture entitled Children are the Victims of Adult Vices, which is located in a Moscow park and personifies all the vices that can affect the lives of children, including alchoholism, drug-taking, sexual abuse, indifference and ignorance. The sculptor Mihail Chemiakin, who installed the work in 2001, declared that it was ‘conceived and carried out by me as a symbol and a call to fight for the salvation of present and future generations.’ This musical response was dreamed up by the radical vocalist and composer Jennifer Walshe and Belfast-based composer Brian Irvine, who has collaborated with everyone from Welsh National Opera to the Roald Dahl Foundation, folk group LAU to Seamus Heaney. They will be joined by free improvisers Paul Dunmall (saxophone), Paul Rogers (double bass) and Mark Saunders (percussion, and by the strings of the Red Note Ensemble. Thirteen Vices promises to ‘melt down the boundaries between disciplines’, and takes over ‘the space that lies between theatre, contemporary classical, free improvisation, opera, conduction, poetry, thrash and trash!’ SUN 12 APR Red Note Ensemble: Thirteen Vices



Mar  — Aug 2015


Sidsel Endresen & Jan Bang (22 Apr)

Thirteen Vices

Red Note Ensemble / Brian Irvine with Jennifer Walshe Hall Two 4pm Online Rates £9.50

Jennifer Walshe voice Brian Irvine conductor Red Note Ensemble string section Paul Dunmall saxophone Paul Rogers double bass Mark Saunders percussion Inspired in part by Mihail Chemiakin’s Children Are the Victims of Adult Vices (a set of grotesque sculptures in a park in Moscow), Thirteen Vices is the result of a collaboration between two acclaimed Irish composers, Brian Irvine and Jennifer Walshe. Performed by the Scotland-based Red Note Ensemble and guests, this unique work melts down the disciplinary boundaries between theatre, contemporary classical, free improvisation, opera, conduction, poetry, thrash and trash.



The programme ends with new works written by Coates during his recent Hong Kong residency. With visuals created by Laura Colmenares Guerra.

Oliver Coates

Listen to Oliver Coates’ performance of Mica Levi’s Love at

Hall Two 4pm Online Rates £14.50 | Savers £9.50

There are more Minimalism Unwrapped concerts earlier in the week. See Classical Listings, p23–24

presented by Cryptic Nights

Larry Goves the clouds flew round with the clouds Edmund Finnis Across White Air (2014) Squarepusher (arr. Coates) Tommib Help Buss (2006) Mica Levi (arr. Coates) Love Messiaen (arr. Coates) Oraison (1937) Michael Gordon Industry (1992) Oliver Coates cello and electronics Laura Colmenares Guerra video artist Cathie Boyd director Well known for his contemporary multigenre collaborations, Oliver Coates presents a programme that showcases his explorations, from Messiaen’s work for ondes Martenot to Larry Goves’ flighty Chopin piano ripples that accompany the earthy tones of the cello. Coates’ version of Tommib Help Buss is a piece of perfection that complements Levi’s gorgeous Love, featured in the 2013 blockbuster film, Under the Skin.

Watch a clip of Endresen and Bang performing together at the Hexagone theatre, Grenoble, at

FRI 22 – SAT 23 MAY




Sidsel Endresen & Jan Bang Hall Two 8pm Online Rates £12.50 | Savers £9.50

Sidsel Endresen voice Jan Bang electronics and live sampling Long-time collaborators Sidsel Endresen and Jan Bang have both topped the charts in their native Norway and beyond. Together they journey away from their roots into more daring, experimental and expressive territories. The interaction between Endresen’s unique voice and Bang’s remarkable live sampling creates music that’s predictable only in its unchanging ability to surprise, cajole, shock and seduce in equal measure. A Kings Place Artistic Hire

Our year-long Minimalism series continues with two concerts with contemporary edge. Violist John Metcalfe’s Duke Quartet programme explores music by Gavin Bryars, Max Richter and Kevin Volans (22 May). Saturday sees celebrated French pianist Vanessa Wagner join forces with Mexican electronic artist Murcof. ‘I discovered Murcof’s music on the occasion of a screening of Lang’s Metropolis for which he created “live” music’, reveals Wagner. ‘And I was immediately fascinated by its rich, sensual textures, by the mystery, the magic that it emanated.’


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The Duke Quartet

Murcof & Vanessa Wagner

Hall One 7.30pm Online Rates £14.50 – £29.50 | Savers £9.50

Hall One 7.30pm Online Rates £19.50 | Savers £9.50

Programme to include: Gavin Bryars String Quartet No. 2 (1990) Max Richter Infra 8 (2010) Kevin Volans String Quartet No. 2 Hunting:Gathering (1987)

Programme to include: Cage In a landscape (1948) John Adams China Gates (1977) Arvo Pärt Variations for the Healing of Arinushka (1977) Philip Glass Metamorphosis II (1988) Feldman Piano Piece 1952 (1952) Philip Glass Metamorphosis IV (1988)


John Metcalfe’s Duke Quartet has established itself as one of Europe’s most dynamic ensembles. Its programme for tonight includes the final track from Max Richter’s 2010 album, Infra, along with two string quartets – Gavin Bryars’s Second Quartet, full of pulsing passages, and Kevin Volans’s Hunting:Gathering, with its Ethiopian and sub-Saharan influences. Listen to the opening movement of Kevin Volans’s Hunting:Gathering played by The Duke Quartet at




Warwick Blair Ensemble Hall Two 8pm Online Rates £10.50

Vanessa Wagner piano Murcof electronics Praised for her curiosity and eclecticism, French pianist Vanessa Wagner is much celebrated for her musical colours, the quality of her playing and her sensitive touch. She takes to the stage with electronics provided by Mexican artist Murcof in a programme that features the music of Cage, Adams, Feldman, Pärt and Glass. Murcof (23 May)

A chance to experience cutting-edge new music by New Zealand’s leading contemporary composer, Warwick Blair. Featuring a world premiere and three UK premieres this is a rare opportunity to enjoy the composer’s most recent work. Blair studied with Andriessen and Xenakis and his music combines the avant-garde, minimalism, pop and world music influences. A Kings Place Artistic Hire



Tête à Tête at Kings Place Hall One, Hall Two and Foyer On Sale from 7 May 2015

Following its relocation to Kings Place and Central Saint Martins last year, the world’s largest festival of new opera returns for its ninth edition. Once again, dozens of new works and performances will push the frontiers of opera and fill the area with sound, spectacle and an explosion of creativity over three long weekends. Kings Place will host the last week of the festival. Full details at from 7 May.

FRI 14– SUN 16 AUG

Big Big Train Hall One Fri – Sat 7.30pm; Sun 2pm Online Rates £36 | SOLD OUT

Big Big Train are a progressive rock band whose rich blend of electric and acoustic instruments has earned them a growing reputation and to a win in the ‘Breakthrough Band’ category at the 2013 Progressive Music Awards. Their recent album, English Electric, has received rave reviews. For these three performances, they will be joined by the five-piece brass band featured on recent albums. A Kings Place Artistic Hire ‘The Prog equivalent of the Olympics opening ceremony’ Classic Rock Listen to Big Big Train’s track ‘East Coast Racer’ on


Mar  — Aug 2015

Forging new chains of song Songlines Encounters Festival

Monsieur Doumani (4 Jun)

The fifth edition of the Songlines Encounters Festival at Kings Place this June boasts a mouthwatering line-up of unique global acts designed to appeal to audiences of all ages, aficionados and newcomers alike. A Scottish fiddler followed by Iranian vocalists? Cypriot musicians juxtaposed with a fado singer? Bangladeshi virtuosi playing with Anglo-Bangladeshi latin beats? It could only happen at the Songlines Encounters Festival. This year’s programme promises to be a must-hear for anyone interested in great live performing. Mahsa & Marjan Vahdat are world-renowned singers despite the intense restrictions on performing in their own country, Iran. Their bravery in keeping alive the flame of traditional Persian music is celebrated in the film Sisters and they can be heard accompanying themselves on frame drum and setar, and in a special collaboration with dynamic Highland fiddler Duncan Chisholm. Thursday will be entitled ‘Mediterranean’, featuring the fado singing of Gisela João and the witty instrumental invention of Cypriot trio Monsieur Doumani. Saturday night will feature the UK debut of the Shikor Bangladesh All Stars (see p10) as well as a collaboration with London-based Lokkhi Terra in a show entitled ‘Britain meets Bangladesh.’ And for the first time there will be a dance night in Hall Two

of live Afro-electronica from Afriquoi, featuring Gambian kora, Congolese guitar, percussion and electronics drawing on dubstep, house and hip-hop. For families and young people there’s going to be an amazing Kids’ Concert on the Saturday afternoon featuring the zesty klezmer and Balkan music band She’Koyokh. They’ll introduce you to the musicfrom all over Eastern Europe through stories, songs and dance. Come on an exciting adventure through the Balkans, discovering wild sounds, quirky instruments, wonky rhythms and crazy harmonies. Says festival co-curator and Songlines editor Simon Broughton, ‘There are some UK premieres, first-time collaborations and lots of supremely inspirational music from artists that have impressed us at Songlines magazine. As ever, the idea is to discover something new, and memorable.’ 4–6 JUNE 2015 Songlines Encounters Festival. See Listings for details


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Film: Mariza & the Story of Fado St Pancras Room 6.30pm (Lasts 55’) Online Rates £ 6.50

The perfect introduction to Portugal’s most distinctive music, interweaving a portrait of current fado star, Mariza, with the history of the music itself from its origins in 19th- century Lisbon. SONGLINES ENCOUNTERS

Monsieur Doumani + Gisela João Hall One 8pm Online Rates £14.50 – £24.50 | Savers £9.50

Gisela João is the new fado singer that Portugal is raving about. Her debut recording was an album of the year in Portugal. Expect traditional fado at its very best. The trio Monsieur Doumani play Cypriot music – their own and traditional tunes – with humour and panache. This show launches their new album Sikoses.



Film: Sisters St Pancras Room 6.20pm (Lasts 50’) Online Rates £6.50

As Mahsa and Marjan Vahdat bravely preserve Persian musical traditions despite intense restrictions on female musicians in Iran, this film tells their remarkable personal story. SONGLINES ENCOUNTERS

Duncan Chisholm + Mahsa & Marjan Vahdat Hall One 7.30pm Online Rates £14.50 – £24.50 | Savers £9.50

Sisters Mahsa and Marjan Vahdat are like no other singing duo you’ve heard. Their voices interweave so beautifully, you’d never guess they’re forbidden to sing publicly back home in Iran.With six solo albums behind him, Duncan Chisholm is one of Scotland’s great fiddlers and a regular member of Gaelic

Mahsa & Marjan Vahdat (5 Jun)

singer Julie Fowlis’s band. Traditional and contemporary music from the Highland glens … SONGLINES ENCOUNTERS

Afriquoi Hall Two 9.30pm | Standing event Online Rates £14.50 | Savers £9.50

Afriquoi are one of Britain’s great electro-African dance bands with live vocals, kora, guitar and percussion and electronics drawing on house, dubstep and hip-hop.



She’Koyokh: Kids Concert Hall Two 2pm Online Rates £5 per child (with free accompanying adult) | Open to all children but aimed at 5-11 year old. Due to safe guarding, children must be accompanied by a parent or carer during the concert.

Join Britain’s best klezmer and Balkan music band She’Koyokh for a participatory concert for children, introducing music from Eastern Europe with stories, singing and some dancing! SONGLINES ENCOUNTERS

Talk: Bangladesh Roots St Pancras Room 6.15pm FREE event, but a ticket is required.

Simon Broughton talks to pianist Kishon Khan and members of the Shikor Bangladesh All Stars about the traditional sources of their music and their collaboration with Lokkhi Terra. SONGLINES ENCOUNTERS

Shikor Bangladesh All Stars + Lokkhi Terra Hall One 7.30pm Online Rates £14.50 – £24.50 | Savers £9.50

The seven-strong Shikor Bangladesh All Stars feature some of the best traditional musicians from Bangladesh, including folk singer Baby Akhtar, dhol drummer Nazrul Islam and maestro of Baul music Rob Fakir. In part two of this concert, the All Stars join together with the Anglo-Bangladeshi group Lokkhi Terra to bring Songlines Encounters to a danceable finale as the roots of Bangladesh meet Latin dance rhythms and the urban jungle. The Shikor Bangladesh All Star's performance is kindly supported by Culturepot, UK and Ittefaq. Songlines Encounters Festival is co-curated by Songlines magazine and Ikon Arts Management. Go to and visit the individual event pages to watch or listen to music clips from this year’s acts.


Mar  — Aug 2015

SATURDAY 11 JULY 10.30AM – 6.30PM


KINGS PLACE CHESS FESTIVAL The Kings Place Chess Festival is back, bringing together dozens of silent stratagems, serious contenders and young hopefuls at Kings Place. Alongside the usual four categories – Open, Major, Minor and Amateur – this year will also see ‘My First Chess Tournament’: Six games of tournament chess – not graded, no membership of the ECF or a chess club required; ideal for your first foray into the world of competitive chess. For any queries about the Festival, please email Adam Raoof at A copy of the tournament rules will be available on the day. All entries need to be submitted before the day. Limited availability. Early booking advised.

90 York Way London N1 9AG 020 7520 1490

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The North Wind Doth Blow … April sees a visit from Le Vent du Nord, the knockout Québec-based quartet Le Vent du Nord

‘It’s rare to hear the French language sound so raw and virile’ What is it about this Canadian quartet? Is it the driving foot percussion, the whirling reels and high-octane energy? Or is it that irresistible je ne sais quoi rooted in the unique gutsiness of their Gallic language? It’s rare to hear the French language sound so raw and virile as it does in the intense narrative songs of Le Vent du Nord. This quartet are famous for their dynamic flair and charismatic stage presence, but also for their original songs, inspired by the tradition into which most of them were born. They return to Kings Place in April having gone down a storm at this year’s Celtic Connections Festival with their cosmopolitan ‘Misses & Messieurs’ collaboration.

Their superb fiddler, Olivier Demers, also provides the rhythm section with his nimble feet (moving at the speed of a flamenco dancer). He’s joined by hurdy-gurdy player and lead singer Nicolas Boulerice, guitarist, vocalist and bouzouki player Simon Beaudry and wizard accordionist Réjean Brunet, whose brother André plays in La Bottine Souriante. Songs range from haunting ballads to toe-tapping dance numbers. The group, who are almost constantly touring the US, Europe and Canada, know just how to generate a party atmosphere and have become one of the mostloved Québec folk outfits on the circuit today. WED 18 MAR Le Vent du Nord – International Album Launch




Mar  — Aug 2015

Disco at the Tavern The Demon Barbers, renowned for their mix of folk and hip-hop, make a welcome visit to Kings Place in May

THU 28 MAY The Demon Barbers XL Hall One, 8pm

It was the inspiration of Damien Barber to create a live show that put a continuous stream of dance at the centre of a floor-shaking brand of folk music. And not just any dance. The Demon Barbers XL show ‘The Lock In’ took in highenergy young clog-, sword-, hip-hop- and break-dancers in an unlikely extravaganza that went down a storm in all parts of the country, including the Glastonbury Festival. Their new show will feature material from their latest album, Disco at the Tavern, a collaboration with Donal Hodgson and Kipper, featuring the DJ ‘Wax-On’. Check out their new song Ranzo on YouTube for a taste of their unique brand of decks-meets-folk.


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Le Vent du Nord Hall One 8pm Online Rates £13.50 – £15.50 | Savers £9.50

Combining great stage presence with dynamic flair, Le Vent du Nord are a leading name in Québécois folk music, performing original songs inspired by the traditional repertoire. With their mix of fiddle, guitar, accordion and hurdy-gurdy, the band are now one of the most-loved Québec folk outfits out there.




Hall One 7.30pm Online Rates £16.50 | Savers £9.50

Special Late Night Show

‘Catch them while you can!’ Propaganda





Gretchen Peters

James Grant + Samantha Whates

Hall One 8pm Online Rates £17.50 – £28.50 | Savers £9.50

Hall One 7.30pm Online Rates £16.50 | Savers £9.50

Nashville-based Gretchen Peters’ new album features gems of American roots music by Douglas, Kimbrough, Bogguss, Isbell, LaFave, Richey and more. Following Hello Cruel World (2012), which NPR called ‘the album of her career’, Blackbirds truly establishes Peters as a one-of-a-kind singer-songwriter with an endlessly creative voice. A Kings Place Artistic Hire.

Since going solo in the early 90s, singersongwriter and guitarist James Grant has released five albums, including Strange Flowers (2009) and his best-of collection (2012). His style draws from a broad palette of pop, folk, soul, country and blues influences. Now back on the road and recording with his former band Love and Money, Grant sounds like an artist in his prime. Support act is London-based Scottish singer Samantha Whates.



Roddy Woomble Band + Sorren Maclean Renowned as the front man of rock band Idlewild, Roddy Woomble is also a celebrated solo singer-songwriter. Recorded with his new band at An Tobar on the Isle of Mull, his latest album Listen to Keep (2013) brings touches of country and folk to a set of poignant new songs. Support comes from Mull-born band member Sorren Maclean.


Despite the Dark Hall Two 10pm Online Rates £13.50 | Savers £9.50

Described by The Scotsman as ‘Scotland’s hottest folk prospects’, the five-piece Rura first burst on to the scene as award winners at the 2010 Celtic Connections. Their debut album, Break It Up (2012), brought them a string of award wins and nominations and now their hotly-anticipated second album is around the corner.



Dick Gaughan + Ewan McLennan Trio Hall One 7.30pm Online Rates £16.50 | Savers £9.50

Scotland’s most passionate troubadour Dick Gaughan has been at the cutting edge of Scottish music since 1970, recording extensively in many countries and in collaborations with other artists. His stunningly expressive voice is allied to a dazzling guitar technique. Support comes from balladeer-storytellerguitarist Ewan McLennan and his trio.

THU 9 – SAT 11 APR

CALEDONIAN CHRONICLES Scotland boasts a rich treasury of words and stories, and its strong tradition of songwriting is the theme for this mini-festival. The songwriters and interpreters of song featured here present a creative chronicle of landscape, people and politics with a distinctive Caledonian voice. Shaped by raw tradition, they are masters of contemporary storytelling as well as powerful conveyors of their traditional legacy.

Rura (10 Apr)


Mar  — Aug 2015

9Bach (18 Apr)

Valencia, Spain. The 10-song collection contains some of Rouse’s most beautiful arrangements and complex songwriting to date. Think Glen Campbell-style Countrypolitan pop mastery through Self Portrait-era Dylan confessional lyrics.


Stefan Grossman Hall Two 8pm Online Rates £12.50 | Savers £9.50

American acoustic blues guitarist Stefan Grossman first made his name on the European blues and folk circuit in the 60s, before moving to New Jersey in the mid-80s and setting up his Guitar Workshop and Vestapol video business. Since 2000, he has been found recording in duo and trio settings (with Tokio Uchida, and Danny Kalb & Steve Katz).



Kathryn Roberts & Sean Lakeman

Tomorrow Will Follow Today Hall Two 8pm Online Rates £13.50 | Savers £9.50

Alongside being voted ‘Best Duo’ in the BBC R2 Folk Awards (2013), husband-and-wife duo Kathryn Roberts (vocals) & Sean Lakeman (guitar) were also nominated for ‘Best Original Song’. Their new album Tomorrow Will Follow Today is their boldest musical statement to date. ‘English folk’s Buckingham Nicks’ The Independent on Sunday



9Bach Tincian

Hall Two 8pm Online Rates £12.50 | Savers £9.50

Nominated for BBC R2 Folk Awards 2015 in the Best Album category, Tincian is the second release by 9Bach, the Welsh group formed by Lisa Jen and Martin Hoyland. It’s an atmospheric, emotional record that reflects their home environment of Gerlan, North Wales.

‘Anyone who has gently come down to the strains of Massive Attack, Air or Portishead will engage with the vibe on offer here.’ Sunday Times


Aly Bain and Phil Cunningham Hall One 8pm Online Rates £19.50 | Savers £9.50

The eminent Scottish duo Aly Bain (fiddle) and Phil Cunningham (accordion) have toured together since 1988 to packed venues and have recorded many acclaimed albums, including two best-of collections. Together they are simply the best traditional musicians you are ever likely to hear.



Josh Rouse

The Embers of Time Hall One 8pm Online Rates £25 | Savers £9.50

‘It’s my surreal expat therapy record,’ observes Josh Rouse about his new LP, The Embers of Time, which takes inspiration from his self-admitted crisis of confidence and bouts with existential psychotherapy in his adopted home of


Blue Rose Code Hall Two 8pm Online Rates £13.50 | Savers £9.50

Scottish songwriter Blue Rose Code (Ross Wilson) does not write folk songs, but his discovery of the traditional music the British Isles informed what happened next. He is now touring with his trio to promote his second album, The Ballads of Peckham Rye. Expect a great show from an artist who refuses to be pigeon-holed. ‘Simply beautiful. I’m a folk convert.’ Emma Freud, BBC R4



The Kennedys Hall Two 8pm Online Rates £12.50 | Savers £9.50

This spring will see the release of The Kennedys’ ‘20th-Anniversary Series’ in three CDs: West (a rootsy album of songs that capture the spirit of the husband-and-wife duo’s travels), Heart of Gotham (Pete’s tribute to NY, his home town) and Villanelle (Maura’s collaboration with poet B.D. Love) – about 40 new songs in all. ‘Irresistible’ Rolling Stone


Book tickets


Breabach Hall Two 8pm Online Rates £13.50 | Savers £9.50

The haunting strains of twin bagpipes have become a defining signature of Breabach – a chiming herald of Scottish folk being embraced by a new generation. This energetic, awardwinning five-piece deliver a thrilling and unique brand of contemporary folk music with performances all around the world. ‘Tempos are often exhilarating and the ensemble interplay is fiery.’ Songlines



Chris Smither Hall Two 8pm Online Rates £14.50 | Savers £9.50

Chris Smither has been distilling his signature sound since the 60s, drawing deeply on the blues, American folk music, modern poets and philosophers. Still on the Levee (2014) is his retrospective double CD, whose release was accompanied by the publication of a career-spanning lyrics book. ‘A weary, well-travelled voice and a serenely intricate finger-picking style’ The New York Times



Foghorn Stringband Hall Two 8pm Online Rates £12.50 | Savers £9.50

With seven albums and numerous shows in over a decade of touring under their belts, Portland’s Foghorn Stringband play American roots music of the finest order – songs that are at once wildly virtuosic and intimately hand-crafted. ‘[They are] at the top of today’s vibrant old-time music revival.’ Art Menius


The Demon Barbers XL Hall One 8pm Online Rates £15.50 | Savers £9.50

The Demon Barbers return with a new repertoire, extra members and a modern

twist to their multi-award-winning stage show, bringing some of the UK’s most exciting clog-, sword-, hip-hop- and break-dancers onto the stage to create the live folk music & dance spectacular of the year.

‘There’s an incredible power of history and tradition in his vocals.’ Linda Ronstadt

‘Don’t miss it – they are brilliant’ Mike Harding, BBC R2

Martin Simpson, Andy Cutting & Nancy Kerr


Bruce Molsky Hall Two 8pm Online Rates £14.50 | Savers £9.50

Bruce Molsky (guitar, fiddle and banjo) has been exploring traditional music from a wide range of cultures over the past 20 years whilst creating his own unique sound. His influences range from traditional American old-time music, Appalachian soul of Tommy Jarrell and Delta blues to Irish and Eastern European folk music.





Hall One 7.30pm Online Rates £19.50 | Savers £9.50

This trio really needs no introduction. Virtuoso musicians Martin Simpson, Andy Cutting and Nancy Kerr have come together for the joy of playing and exploring the possibilities of music together. Their album, Murmurs, is due for release on Topic Records in June. One of the folk highlights of the season – book early to avoid disappointment! Foghorn Stringband (22 May)


Mar  — Aug 2015

Courtney’s new book of ballads Sebastian Scotney caught up with legendary saxophonist Courtney Pine, often dubbed the ‘saviour of British jazz’, who launches his new bass clarinet album at Kings Place this March

When Courtney Pine starts to talk about his new album, Song (The Ballad Book) those big friendly eyes light up. ‘This is a challenging phase. It’s uncharted deep water right now,’ he says, with a smile. Song is his 16th album. His first, back in 1986, was called Journey to the Urge Within. It sold 100,000 copies and established him as one of the most visible of British jazz musicians. He was just 22 years old then, and the success has continued. His most recent CD, House of Legends, was voted Jazzwise’s album of the year in 2012. His career in jazz could have taken very different turns in the interim. At three stages, he told me when I met him at Kings Place, he had been invited to settle in the US. The first of these offers came from Art Blakey, who asked him to join that ultimate finishing school, the Jazz Messengers. Each time, however, he stayed, and by doing so has remained an essential part of the British scene. He was made a CBE in 2009. In 2013 he won his fourth MOBO nomination – he has won the award twice. He has even appeared, as himself, in Doctor Who. Pine is a persuasive and articulate communicator, and an evangelist for the music, he was at one point being called ‘the saviour of British jazz’. As he speaks, his welcoming, inclusive vision of the jazz world shines through: ‘I find

Courtney Pine (19 Mar)

it hard to believe guys would only want jazz to stay in one room. I think music is for everybody.’ There may be a paradox in the fact that Pine’s considerable talent and his infectious enthusiasm are so singlemindedly directed towards instrumental rather than vocal music, but it’s been that way since he was a four-yearold. ‘My parents, from Jamaica, would listen to ska records,’ he remembers, ‘but I preferred the B-sides, the instrumentals.’ And what inspired him? ‘I could hear the jazz in their playing.. Courtney Pine’s new album is a

complete contrast to the guitarbased House of Legends. That was a celebration of ska and reggae, onto which he invited some of his childhood instrumentalist heroes to be guest soloists. This time he has pared things down, working as a duo with pianist Zoe Rahman. Pine’s instrument? Bass clarinet, an instrument he has had customised. ‘The range is unbelievable.’ And the repertoire? There’s ‘Through the fire’ by Chaka Khan, ‘Beatrice’, by Sam Rivers and Donny Hathaway’s ‘Some day we’ll all be Free’. ‘These are all songs that tug at my heartstrings. They change your spirit. Some move you to tears. You’re not the same after them.’

‘These are all songs that tug at my heartstrings. They change your spirit.’ THU 19 MAR Courtney Pine & Zoe Rahman, Song (The Ballad Book) will have its official launch in Kings Place See Listings p45 for details


Book tickets 020 7520 1490



Courtney Pine

presents Song (The Ballad Book) featuring Zoe Rahman Hall One 8pm Online Rates £13.50 – £24.50 | Savers £9.50

‘I’ve always wanted to record a collection of my favourite ballads’ says Courtney Pine, ‘and there is nothing like performing in a duet format for bringing out the intimacy of great songs.’ Now with his 16th studio album to date, the legendary multi-instrumentalist plans to strip everything right back for the most intimate show of his long career as he takes to the stage playing bass clarinet accompanied only by fellow Mercurynominee and MOBO-award winning pianist, Zoe Rahman.



The opening day of It’s All about the Piano! starts with performances by Mikhail Rudy and Cyprien Katsaris. See p22.

Tori Freestone Trio Hall Two 8pm Online Rates £12.50 | Savers £9.50

Saxophonist Tori Freestone’s trio showcases three highly experienced and eclectic musicians at their very best. The trio has been developing its own exploratory repertoire while taking inspiration from some of the non-chordal saxophone-led trios of the moment. The wit and playfulness in the original tracks of the trio’s debut album In the Chop House (2014) mark Freestone’s music out, not to mention a strong willingness to blur the lines between the written and the improvised. ‘An imposingly original sound’ John Fordham, The Guardian

Hall Two 8pm Online Rates £12.50 | Savers £9.50




John Taylor Hall One 9pm Online Rates £14.50 | Savers £9.50

John Taylor is one of Europe’s most celebrated jazz pianists and composers. His unique style draws on the whole jazz palette and classical music influences. ‘Taylor has been a pianist of international stature for a long time, but in recent years he has reached a creative level remarkable even by his standards’ The Irish Times

Zoe Rahman 19 Mar


Håkon Kornstad Norwegian saxophonist Håkon Kornstad has always been a restless spirit, striving to discover something new. As part of Wibutee, he blended electronic dance music and jazz, and as a solo performer he used looping to expand his already broad sonic palette. Recently he has managed the unlikely feat of blending jazz with electronic looping and sampling along with his own operatic tenor vocals. This unusual combination has resulted in some of the most astounding performances you are ever likely to hear.


Kairos 4tet Hall Two 8pm Online Rates £12.50 | Savers £9.50

Adam Waldmann’s Kairos 4tet are one of a kind – bridging the gap between classic and contemporary; the jazz idiom and the lineage of song; intelligent and delicate grooves, burning improvisations and lingering melodies. With Waldmann on breathy tenor and quirky soprano sax, bassist Jasper Høiby’s muscular low ends, Ivo Neame’s dazzling piano and Jon Scott’s hypnotic drumming, the quartet allow the warmth of their communal spirit and their now improvisational edge to shine through. ‘Ferociously inventive foursome’ The Independent


TG Collective + The Mike Fletcher Trio Hall Two 8pm Online Rates £12.50 | Savers £9.50

The first in a series of performances featuring artists from the Stoney Lane

Records, including the premiere of a new commissioned work, written and performed by both bands. The diverse 7-piece TG Collective bring together a mix of gypsy jazz, flamenco, jazz and contemporary classical influences, based around the core of guitarists Jamie Fekete and Sam Slater. Their latest album, Release The Penguins, was released in 2012 to critical acclaim. Saxophonist/flautist Mike Fletcher’s trio has a distinctive sound that draws inspiration from the jazz tradition and combines with it a contemporary approach to improvisation, featured on their debut album, the Spanish-tinged Vuelta, released earlier this year.


Kit Downes Trio + Tricko Hall Two 8pm Online Rates £12.50 | Savers £9.50

Tonight will feature two bands, both led by award-winning pianist/composer Kit Downes. Tricko is Kit’s collaboration with cellist Lucy Railton. The duo pull together the lyricism and intensity of their favourite minimalists and modern jazz composers, the ballads of nearby circling ice-cream vans and a lightfooted approach to improvisation. The second set sees Kit and long-term collaborator drummer James Maddren join forces with Swedish bassist Petter Eldh for a performance of rhythmically intricate and energetic new music.


Mar  — Aug 2015

The Secret History of Alice Robert Douglas-Fairhurst

Martha Kearney and biographer Robert Douglas-Fairhurst come to Kings Place this April to discuss Douglas-Fairhurst’s major new biography of Lewis Carroll.

Robert Douglas-Fairhurst’s new biography, to be published on the 150th anniversary of Alice in Wonderland, promises to shake up our idea of Victorian culture much as did his brilliant study of the young Dickens, Becoming Dickens. Carroll’s concept of ‘Wonderland’ has been absorbed into our cultural heritage, a metaphor for all that’s phantasmagoric, bewildering and irrational. But beneath its bizarre humour lies the complex history of its author and his subject.

This is their secret story: a history of love and loss, of innocence and ambiguity, and of one man’s need to make Wonderland his refuge in a rapidly changing world. Drawing on previously unpublished material, Robert Douglas-Fairhurst traces the creation and influence of the Alice books against a shifting cultural landscape – the birth of photography, changing definitions of childhood and sexuality, and the tensions inherent in the transition between the Victorian and modern worlds.

Charles Dodgson was a quiet academic, but his alter-ego, Lewis Carroll, was a storyteller, innovator and avid collector of ‘child-friends’, one of whom was Alice Liddell, his ‘dream-child’.

MON 13 APR The Story of Alice with Martha Kearney and Robert Douglas-Fairhurst


Book tickets



Jill Leovy

Ghettoside: A True Story of Murder in America Hall Two 7pm Online Rates £9.50

Jill Leovy, an award-winning reporter and editor for the LA Times, tells the story of a senseless murder, a relentless detective, and the great plague of homicide in America – mostly ignored – one young black man slaying another.



Less is More

Poetry, Minimalism and Music Hall Two 7pm Online Rates £9.50

Poet in the City, in collaboration with Aurora Orchestra, presents an event exploring the poetry and music of Minimalism. Emerging from modernism’s ground-breaking energy in the early 20th century, Minimalists from Ezra Pound to William Carlos Williams sought to reshape and distil the human experience. Presenting poetry and live chamber music in a unique conversation, this special event will explore the way art absorbed and interpreted this striking form. Featuring Dr Will Montgomery and members of Aurora Orchestra. For details of Minimalism Unwrapped concerts, see Classical/Contemporary Listings, pp 23, 24 and 34.

Patrick Gale & Zeb Soanes (30 Mar)



The Story of Alice

WB Yeats

Robert Douglas-Fairhurst in conversation with Martha Kearney Hall Two 7pm Online Rates £9.50

To celebrate the 150th anniversary of the first publication of Alice in Wonderland, Robert DouglasFairhurst talks to Martha Kearney about his definitive biography of Lewis Carroll and Alice Liddell. This secret cultural history of Wonderland will introduce us to a wonderful gallery of Victorian magicians, artists, models, actresses, ghost-hunters and child prostitutes.


Rock’n’Roll Politics: The Election Special with Steve Richards


Patrick Gale

in conversation with Zeb Soanes Hall Two 7pm Online Rates £9.50

Patrick Gale, the author of Notes from an Exhibition, talks about his new personal Edwardian novel based on a true story in his own family history. From Cornwall to Canada, A Place Called Winter is a searching and poignant story of love, relationships, secrets and escape.

Hall Two 7pm Online Rates £9.50

With only weeks to go before the closest election in decades, award-winning columnist and broadcaster Steve Richards stages a special one-off live show, taking you behind the scenes of a great political drama. Who will win? What will happen next? What have we learnt about the leaders who seek power or who want to keep it? How is the modern media reporting the election? Get closer to a general election where politics is all shook up.

150th-Anniversary Celebration Bernard O’Donoghue & Guests Hall One 7pm Online Rates £9.50

Poet in the City presents an event celebrating the life and work of one of the greatest poets of the 20th century. 2015 is the 150th anniversary of the birth of WB Yeats and in this special event, leading poet Bernard O’Donoghue hosts an evening of poetry and discussion in honour of the man who remains a towering figure in Irish and world literature. Exploring the many different sides of Yeats the poet, nationalist and mystic, we ask questions about identity and Irishness, and celebrate what Auden called ‘some of the most beautiful poetry of modern times’.



Haiku: Small is Beauiful Hall One 7pm Online Rates £9.50

Poet in the City presents a unique celebration of the Haiku. From the form’s Japanese origins to its modern imitators, this event will explore the fascinating history and legacy of a timeless and bite-sized classic. In the age of Twitter and darting attention spans, we take a closer look under the skin of Haiku. This is poetry which pares language and image down to their barest bones; small on the outside, imaginatively limitless underneath.


Mar  — Aug 2015

A Pilgrim Soul

WB Yeats

‘Yeats soaked up in his writing all the poetical nutrients in the world around him’

Poet in the City celebrates Ireland’s greatest poet, WB Yeats, in a special event in April. Irish poet and Yeats scholar Bernard O’Donoghue, who will be speaking at the event, argues the case for this ever-relevant figure. If people know only lyrics like The Wild Swans at Coole or The Lake Isle of Innisfree why should they delve further? TS Eliot said Yeats was one of the few writers whose own time cannot be understood without him. He was a major writer of poems – and prose – about public as well as private matters. Poems like Meditations in Time of Civil War are central to the understanding of Irish politics in his time, and of world politics today. While TS Eliot is often invoked in cultural discourse, Yeats has become more obscure; do we have to understand his time to understand his poetry? Is this really true? The Yeats scholar Geraldine Higgins has pointed out that Yeats’s poem The Second Coming has generated more book titles than any other poem (The Widening Gyre, The Centre Cannot Hold, Things Fall Apart …). Think of its lines: ‘The best lack all conviction, while the worst/Are full of passionate intensity.’ He could be speaking of today. A poem like Easter 1916 is surely more crucial to the public sphere than anything by Eliot. Is Yeats heard differently in Ireland? Yes, I think so. He remains the ‘national poet’, despite his background and his living out of Ireland for much of his life. He wrote often about things, after all, that are only known at first-hand in Ireland: Coole Park and Ballylee, The Fiddler of Dooney, The Municipal Gallery, Lissadell, Kiltartan …

What should people look for beyond the lyrical and public poems? He is a great love-poet, and he says things about life and death in a way that only poetry can make you feel them. Often his general truths are at the heart of what life is about: of the beauty of the world, and its transience. Man is in love, and love’s what vanishes, What more is there to say? (Nineteen Hundred and Nineteen) Above all, Yeats makes you see what it feels like to be alive. What influence did Yeats have on Seamus Heaney and the next generation of Irish poets? Heaney was obsessed, positively, by the writing tradition of Yeats – by Yeats as poet, as he shows at the end of his seminal essay ‘Yeats as an Example?’. Many writers, starting with Austin Clarke, said that Yeats was hard to follow because he had soaked up in his writing all the poetical nutrients in the world around him. But Heaney said he remained a constant, positive challenge in the way he could deal with one area of his experience fully, and then move on to another. This, according to Heaney, was what the poet must do. WED 29 APR Poet in the City presents… WB Yeats: 150th-Anniversary Celebration with Bernard O’Donoghue and other guests


Book tickets 020 7520 1490

Caroline Criado-Perez (18 May)

is a cultural renaissance underway in Tibet with an endless stream of poems, essays, songs and paintings devoted to Tibetan identity, culture and the enduring spirit of Tibetan resistance. By amplifying everything banned in Tibet, we ensure that the voices of its artists are not silenced. This event is brought to you by High Peaks Pure Earth, Students for a Free Tibet UK, Voice of Tibet and the Tibetan Centre for Human Rights and Democracy.

YOU MIGHT ALSO LIKE SUN 19 APR, 11.30AM The Fantastical World of Schumann Pianist Lucy Parham in conversation with Sarah Walker (BBC R3) Part of the Word/Play series devised by Lucy Parham

SUN 31 MAY, 11.30AM Concert with Commentary: Schubert in the Age of the Sound Bite Part of the ‘Keyboard Conversations® with Jeffrey Siegel’

FRI 19 JUN, 6.30PM Unjustly Neglected: How Music was Banned and Forgotten Pre-concert Talk with Michael Haas, author of Forbidden Music



Do it like a Woman: Caroline Criado-Perez in conversation with Bridget Christie Hall One 7pm Online Rates £9.50

Caroline Criado-Perez launches her first book Do It Like a Woman – a timely and necessary celebration of pioneering women around the world and a call to arms for doing it like a woman. In conversation with Bridget Christie.


Poetry London Summer Launch Hall Two 7pm Online Rates £3.50

Poetry London is one of the UK’s leading

national and international poetry magazines where acclaimed contemporary poets share pages with exciting new names. This event marks the launch of Poetry London’s summer issue and presents readings from distinguished poets featured in the magazine, introduced by the magazine’s Poetry Co-editor, Martha Kapos.


The Renaissance Series: Banned Expression in Tibet Hall Two 6.30pm Online Rates £9.50 | Early Bird Tickets £6.50

The Renaissance Series promotes the writings, poetry, music and literature banned in Tibet in an evening inspired by the country’s recent cultural output. In spite of escalating repression, there

SAT 20 JUN, 6.30PM Musical Modernism and the Weimar Republic Pre-concert Talk with Professor Erik Levi (Royal Holloway, University of London)

SUN 21 JUN, 2PM Art, Film and Literature in Berlin and Vienna during the Inter-War Years Pre-concert Talk with Dr Deborah Holmes (University of Kent)

SUN 21 JUN, 4.30PM In Their Own Words: German Poetry, Drama and Fiction of the 1920s Pre-concert Talk with actor-directors Annabel Arden and Neil Bartlett

SAT 21 JUN, 5.30PM Refugee Artists in Europe Today Pre-concert Talk with leading experts and activists

Please see Classical Listings pp24 & 29–31 for further details




Apr  — Jun 2015

Spokesman for the Potato The UK’s favourite comic performance poet, John Hegley, comes to Kings Place this March, mandolin in hand, with meditations upon family, celery and Daleks.

John Hegley’s great gift is to make us all feel good about being a bit rubbish. We fall for his dishevelled, apologetic, adorably useless persona with his taped-up NHS glasses. We forgive his rather tuneless voice straining through his subversive songs accompanied by a few mandolin chords. And we forget that the killer lines and surreal scenarios are all really rather clever. In fact, they’re genius. He brings his collection New & Selected Potatoes to Kings Place this spring, a book that sees him cope with fatherhood, recall his own childhood “I was that struggling runt at the back”, pay tribute to his own fond father and endure his brother-in-law: ‘He’s as miserable as sin but less interesting … /In a previous incarnation he was a beer crate.’ On the way we meet DH Lawrence, William Wordsworth (as The Observer put it, ‘Hegley is to potatoes what Wordsworth has been to daffodils’) and some plain-speaking characters from mythology. Orpheus is trying to learn from the animals to ‘live my life in the now’/‘Mind you/ when I feel like a bit of a chat/you’re useless.’ John Hegley

‘Hegley’s gift is to make us all feel good about being a bit rubbish’

From downright daft to improbably profound, there’s no one like Hegley to cheer up a March evening.

19 MAR John Hegley: New & Selected Potatoes Comedy gigs are announced regularly throughout the year. Make sure you sign up to our comedy e-newsletters to be first to hear about them.


Book tickets

Bryan Kneale, Astra, 2011, Stainless Steel


ARTICuLATE FORMS March sees the opening of a major retrospective of the work of Bryan Kneale at Pangolin London.

‘His work is about the problem of what one sees and what one knows, and the attempt to fuse the two’ Bryan Kneale, despite being one of the finest living sculptors and, as Head of Sculpture at the Royal College of Art and Professor of Sculpture at the Royal Academy, having influenced several generations of artists, is not perhaps a household name. His admirers, however, include Sir David Attenborough, and you may have encountered his work in Westminster Cathedral, seen the bronze doors he designed for Portsmouth Cathedral, or experienced his vast, reflective Triton III, which took pride of place in the RA courtyard during the 2009 Summer Exhibition. His focus throughout his long career has been on making and teaching rather than exhibiting and promotion. Kneale (born in 1930) began as a painter and evolved into a sculptor in the 1960s when he took a welding

course. This new exhibition looks back over five decades of sculpture and works on paper. An exemplary draughtsman and painter, Kneale constructed his thick, spiky, early paintings on canvas with a palette knife. He has spoken of his work as being ‘about the problem of what one sees and what one knows and the attempt to fuse the two and, in a special sense, disrupt them.’ His innate fear of repetition drove him to learn to forge and weld, working in brass, steel, copper and aluminium; his is not the traditional sculpture of carving, casting and modelling. He himself has described it as ‘threedimensional drawing’. Since the mid-1980s, Kneale’s major source of inspiration has been the skeletons and joints of animals, as he explained in an unpublished Tate interview: ‘… it is the

connections, the articulation of form which has been of particular importance to me, rather than the development of sculptural mass. The endless invention in nature of bony structures from tiny insects … to colossal forms of dinosaur bones … has always fascinated me.’ Kneale was the first abstract sculptor to be elected RA in 1974, and this exhibition underlines his importance in the development of 20th Century British Sculpture.

25 MAR – 1 MAY Bryan Kneale – Five Decades Private View: Tue 24 Mar


Mar  — Aug 2015

A modernday sublime Piano Nobile’s second exhibition at Kings Place will present monumental landscape photography by contemporary artist Alexander Lindsay.

Photographed during a 20,000-mile, eight-month overland expedition across South America, Lindsay’s series ALTITUDE explores the exhilarating spectacle of vast, desolate landscapes. Lindsay (b. 1961) began his career shooting combat news footage for in the mountains of Afghanistan. This experience led him to making documentary films, creating an awardwinning, critically acclaimed trilogy of documentaries around the Soviet war in Afghanistan. During the making of the ‘Afghan Trilogy’, Lindsay and his team gained unprecedented access to both the Afghan Mujahideen rebel forces and the Soviet army.

The Marble Caves, (detail), 2013 (ALTITUDE series) by Alexander Lindsay

‘A compelling new series and an exciting convergence of art and eyepopping digital technologies’

Lindsay then focused on ocean expeditions and exploration, becoming Director/Producer of Film and Photography for RMS Titanic, Inc., the official salvage team of the legendary shipwreck. The technological innovations that Lindsay developed for deep-sea filming, involving digital camera sensors, high-powered computers and multiple image compilation software pushed to extremes, facilitated photography in extraordinary levels of detail and led directly to the methods employed by Lindsay in his 2013 ALTITUDE series. Printed on a monumental scale, these photographs capture the endless variety of South American vistas, from the remote, high-altitude deserts of Bolivia, Argentina and Chile, to the bleak desolation of the Beagle Channel and Cape Horn, in extraordinary detail and clarity, rendering wondrously present these ancient and powerful landscapes. ALTITUDE is a compelling new series and an exciting convergence of art and eye-popping digital technologies. Lindsay’s work provides a sensory immersion, a fresh and vicarious thrill that fuses classical landscape depiction with the best of epic cinematic composition: a modernday sublime. 16 APR – 20 JUN Alexander Lindsay: ALTITUDE Piano Nobile | Kings Place 16 Apr – 20 Jun 2015


Book tickets 020 7520 1490



Jon Buck Night Bird, Bronze, Edition of 10

John Golding: Finding the Absolute Piano Nobile Kings Place

Opening in conjunction with the Minimalism Unwrapped 2015 concert series, this inaugural exhibition of Piano Nobile Kings Place presents works by John Golding, the pre-eminent British painter, critic, curator and art historian. Focusing on Golding’s previously unseen paintings from the 1960s, this exhibition offers a unique opportunity to appreciate him at the outset of his lifelong pursuit to realise the ever-elusive promise of the absolute through abstraction.


Bryan Kneale: Five Decades Pangolin London

An exemplary draughtsman and painter, Bryan Kneale began his artistic career began at the easel; perhaps as an omen of things to come his paintings were thick, spiky and constructed with a palette knife. With an innate fear of repetition, Kneale looked to sculpture and learned to forge and weld, working in brass, steel, copper and aluminium. The first abstract sculptor to be elected an RA, in 1974, Bryan Kneale played a key role in the development of 20th-century British sculpture, as this exhibition underlines.


Alexander Lindsay: ALTITUDE

Piano Nobile Kings Place Piano Nobile Kings Place’s second exhibition focuses on contemporary photographer Alexander Lindsay’s series ALTITUDE. Photographed during a 20,000-mile, eight-month overland expedition, the landscapes of South America – from the remote, high altitude deserts of Bolivia, Argentina and Chile, to the bleak desolation of the Beagle Channel and Cape Horn – are captured in extraordinary detail and clarity but

printed on a monumental scale. Lindsay’s work provides a fresh and vicarious thrill that fuses classical landscape depiction with the best of epic cinema: a modern-day photographic sublime.

skills of modern and contemporary sculptors.

See on pp4–5 for one of the stunning photographs from Lindsay’s ALTITUDE series.

Self-Portrait Prize 2015 Piano Nobile Kings Place


Jon Buck: Colour Pangolin London

Jon Buck has been exploring colour’s ability to enhance sculpture for the past three decades. Continually pushing the boundaries of what can be achieved with a medium usually associated with dull tones, Buck has reinvigorated bronze casting with bright, bold forms and powerful mark making. This exhibition shares Buck’s exciting adventure into devising new processes, patinas and methods to bring into being his extraordinary artistic vision.


Sculptors’ Prints & Drawings Pangolin London

A varied exhibition that celebrates the draftsmanship and printmaking


The Ruth Borchard

Run by the Ruth Borchard Collection to celebrate contemporary British selfportraiture, this award offers a unique opportunity for new and established artists to compete for a £10,000 prize decided upon by a distinguished panel of judges, and for the chance for their work to be purchased for the Ruth Borchard Next Generation Collection. One hundred works will be selected from submissions to the Prize for this summer exhibition. PIANO NOBILE KINGS PLACE Opening Hours: Mon–Sun, 9am–8pm Gallery staff present by appointment. The Gallery Level is often used for private event bookings during the week which might limit access. If you would like a personal viewing of the current exhibition please contact the gallery to ensure a member of staff is available. 0207 229 1099 | PANGOLIN LONDON Opening Hours: Mon–Sat, 10am–6pm Closed Sundays, Bank Holidays and between exhibitions. 0207 520 1480 |


Mar  — Aug 2015



The legendary Josh Rouse will launch his new album, The Embers of Time on 23 Apr at Kings Place (see p42).


Book tickets

MARCH (second half) until 4 Apr Exhibition Ongoing John Golding: Piano Nobile Finding the Absolute Kings Place FREE admission. Mon 16.03 7 pm Hall Two

in conversation with Ekow Eshun

Ghettoside: A True Story of Murder in America Folk Le Vent du Nord International Album Launch Online Rates £ 9.50 – £15.50

Thu 19.03 8 pm Hall One

Jazz Courtney Pine presents Song (The Ballad Book) featuring Zoe Rahman Online Rates £ 9.50 – £24.50

Thu 19.03 8 pm Hall Two

Fri 27.03 7 pm Hall One

Words Jill Leovy

Online Rates £ 9.50

Wed 18.03 8 pm Hall One


Fri 27.03 8.30 pm Hall Two

Mozart · Lalo · Boulanger · Ravel

Fri 27.03 9 pm Hall One

Words Music Minimalism Unwrapped Less is More: Poetry, Minimalism & Music

Sat 28.03 7.30 pm Hall One

Allan · Shaw · Kennedy · Humphreys Choir of Clare College, Cambridge Aurora Orchestra | Nicholas Collon Online Rates £ 9.50 – £39.50

Sun 29.03 2.30–6 pm Function Rooms

Classical ChamberStudio Masterclass: Solem Quartet with Peter Cropper FREE event, but a ticket required.

Sun 29.03 6.30 pm Hall One

Classical London Chamber Music Vicky Yannoula & George Lazaridis: The Art of Piano Transcription Beethoven · Brahms · Czérny Online Rates £ 9.50 – £26.50

Folk Gretchen Peters ‘Blackbirds’ – Album Tour Jazz Håkon Kornstad Online Rates £ 9.50 – £12.50

John Taylor (27.03)

Classical Aurora at Kings Place Mozart: Requiem

Online Rates £ 9.50

Online Rates £ 9.50 – £28.50

Wed 25.03 8 pm Hall Two

Jazz It’s All About Piano John Taylor

Poet in the City presents … featuring Dr Will Montgomery with members of Aurora Orchestra

Wed 25.03 Exhibition Opening Day Bryan Kneale: Pangolin Five Decades London FREE admission. Wed 25.03 8 pm Hall One

Classical Oenology It’s All About Piano Cyprien Katsaris & French Bubbles

Online Rates £ 9.50 – £14.50

Online Rates £ 9.50 – £26.50

Mon 23.03 7 pm Hall Two

Mikhail Rudy: Pictures at an Exhibition + Metamorphosis

Online Rates £45 (incl. tasting of five different champagnes)

Comedy John Hegley: New & Selected Potatoes Classical London Chamber Music Rosamunde Piano Trio

Opening Concert

Online Rates £ 9.50 – £14.50

Online Rates £ 9.50 – £12.50

Sun 22.03 6.30 pm Hall One

Classical It’s All About Piano

Mon 30.03 7 pm Hall Two

Andrew Kennedy (28.03)

Words Patrick Gale in conversation with Zeb Soanes

A Place Called Winter Online Rates £ 9.50

APRIL Sat 4 Apr Exhibition Closing Day John Golding: Piano Nobile Finding the Absolute Kings Place FREE admission. Exhibition: Bryan Kneale (25.03–01.05)



Mar  — Aug 2015

CALEDONIAN CHRONICLES Thu 09.04 7.30 pm Hall One

Folk Caledonian Chronicles Roddy Woomble Band + Sorren Maclean Online Rates £ 9.50 – £16.50

Fri 10.04 7.30 pm Hall One

Folk Caledonian Chronicles James Grant + Samantha Whates Online Rates £ 9.50 – £16.50

Fri 10.04 10 pm Hall Two James Grant (10.04)

Folk Caledonian Chronicles Rura: Despite the Dark Album Launch Online Rates £ 9.50 – £13.50

Sat 11.04 7.30 pm Hall One

Folk Caledonian Chronicles Dick Gaughan + Ewan McLennan Trio

Thu 16.04 Exhibition Opening Day Alexander Lindsay: Piano Nobile ALTITUDE Kings Place FREE admission. Fri 17.04 7.30 pm Hall One

with UBUNOIR Glass · Moondog · Chalmin Online Rates £ 9.50 – £39.50

Fri 17.04 8 pm Hall Two

Sun 12.04 4 pm Hall Two

Jazz Tori Freestone Trio Online Rates £ 9.50 – £12.50

Contemporary Red Note Ensemble | Brian Irvine with Jennifer Walshe ‘Thirteen Vices’

Sat 18.04 7.30 pm Hall One

Rura (10.04)

Classical London Chamber Music Lorraine McAslan & Victor Sangiorgio Beethoven · Brahms · Saint-Saëns Debussy · Finzi

Online Rates £ 9.50 – £34.50

Sat 18.04 8 pm Hall Two Sun 19.04 11.30 am Hall One

Words Robert Douglas-Fairhurst in conversation with Martha Kearney

The Story of Alice

Sun 19.04 2.30–6 pm Function Rooms

Kathryn Roberts & Sean Lakeman (17.04)

Classical Words Coffee Concerts Lucy Parham’s The Fantastical World of Robert Schumann

Classical ChamberStudio Masterclass: Solem Quartet with Christoph Richter FREE event, but a ticket required.

Sun 19.04 4 pm Hall Two

Contemporary Minimalism Unwrapped Oliver Coates presented by Cryptic Nights Messiaen · Finnis · Gordon Goves · Levi · Squarepusher Online Rates £ 9.50 – £14.50

MINIMALISM UNWRAPPED | WEEK 5 Classical Contemporary Minimalism Unwrapped Carducci Quartet

Online Rates £ 9.50 – £12.50

Online Rates £ 9.50 – £14.50

Online Rates £ 9.50

Thu 16.04 7.30 pm Hall One

Folk 9Bach: Tincian

Part of the Word/Play series

Online Rates £ 9.50 – £26.50

Mon 13.04 7 pm Hall Two

Classical Contemporary Minimalism Unwrapped O/MODERNT Kammarorkester Action.Passion.Illusion Hugo Ticciati conductor Pérotin · Pärt · Tüür · Glass

Online Rates £ 9.50

Sun 12.04 6.30 pm Hall One

Folk Kathryn Roberts & Sean Lakeman Tomorrow Will Follow Today Online Rates £ 9.50 – £13.50

Online Rates £ 9.50 – £16.50

Sat 11.04 8 pm Hall Two

Classical Contemporary Minimalism Unwrapped Katia & Marielle Labèque

Sun 19.04 6.30 pm Hall One

Classical London Chamber Music Chilingirian Quartet with Philip de Groote

The String Quartets of Philip Glass

Haydn · Beethoven · Schubert

Online Rates £ 9.50 – £29.50

Online Rates £ 9.50 – £26.50


Book tickets 020 7520 1490

Mon 20.04 7 pm Hall Two

Words Rock’n’Roll Politics with Steve Richards: Election Special Online Rates £ 9.50

Tue 21.04 8 pm Hall One Wed 22.04 8 pm Hall Two Thu 23.04 8 pm Hall One

Folk Aly Bain & Phil Cunningham Online Rates £ 9.50 – £19.50

Contemporary Sidsel Endresen & Jan Bang


Jointly ticketed with next event

Sat 02.05 4.30 pm Hall One

Online Rates £ 9.50 – £12.50

Folk Josh Rouse: The Embers of Time Album Launch Online Rates £ 9.50 – £25

Fri 24.04 8 pm Hall Two

Online Rates £ 9.50 – £12.50

Sun 26.04 2.30–6 pm Function Rooms

Classical ChamberStudio Masterclass: Minerva Piano Trio with Anthony Marwood

Sat 02.05 6.30 pm Hall One

Folk Stefan Grossman

Classical London Chamber Music Trio Van Beethoven Beethoven · Brahms · Fribbins Online Rates £ 9.50 – £26.50

Wed 29.04 7 pm Hall One

Online Rates £ 9.50

Wed 29.04 8 pm Hall Two

Folk Blue Rose Code Online Rates £ 9.50 – £13.50

Thu 30.04 7.30 pm Hall One

Classical Beethoven Piano Trios Leonore Trio – Concert II Beethoven · Matthews

Sun 03.05 6.30 pm Hall One

Lucy Parham (19.04)

Classical London Chamber Music Russian Virtuosi of Europe JS Bach · Grieg · Shostakovich Zhislin · Cuéllar Online Rates £ 9.50 – £26.50

Wed 06.05 7.30 pm Hall One

Classical Cavaleri Quartet with Andrew West (piano) Beethoven · Brahms · Tchaikovsky Kirckman Concert Society presents … Online Rates £ 9.50 – £24.50

Fri 08.05 8 pm Hall Two Sat 09.05 8 pm Hall Two Sun 10.05 12–4 pm Hall One

Online Rates £ 9.50 – £29.50

Folk The Kennedys

Trio Van Beethoven (26.04)

Online Rates £ 9.50 – £12.50

Jazz Kairos 4tet Online Rates £ 9.50 – £12.50

Classical ChamberStudio Public Masterclass with Shmuel Ashkenasi Online Rates £9.50 Free to students (with ID)

MAY Fri 01.05 Closing Day Pangolin London

Classical The Zemlinsky Quartets Brodsky Quartet Zemlinsky: String Qts 2 & 4 Quartet in E minor (1893) Online Rates £ 9.50 – £29.50 Day Pass £39.50

Words WB Yeats Poet in the City presents … Hosted by Bernard O’Donoghue

Classical The Zemlinsky Quartets Brodsky Quartet Zemlinsky: String Qts 1 & 3 Online Rates £ 9.50 – £19.50 (including the Study Session) Day Pass £39.50

FREE event, but a ticket required.

Sun 26.04 6.30 pm Hall One

Classical The Zemlinsky Quartets Study Session with Stephen Johnson & Brodsky Quartet

Exhibition Bryan Kneale: Five Decades FREE admission.

Mon 11.05 7 pm Hall One

Words Minimalism Unwrapped Haiku: Small is Beautiful Poet in the City presents … Online Rates £ 9.50 Adam Waldmann | Kairos 4tet (09.05)


Mar  — Aug 2015

Wed 13.05 Exhibition Opening Day Jon Buck: Pangolin Colour London FREE admission. BEETHOVEN PLUS! Thu 14.05 7.30 pm Hall One

Classical Beethoven Plus! The Kreutzer Sonata

(Pre-concert Talk + other works St Pancras Room Krysia Osostowicz 6.30pm)

& Daniel Tong

Online Rates £ 9.50 – £ 29.50

Henning Kraggerud (16.05)

Fri 15.05 7.30 pm Hall One

Classical Beethoven Plus! The Spring Sonata

(Pre-concert Talk + other works St Pancras Room Krysia Osostowicz, 6.30pm)

Daniel Tong & Aurea Quartet

Fri 22.05 8 pm Hall Two

Folk Foghorn Stringband

Sat 23.05 7.30 pm Hall One

Contemporary Classical Vanessa Wagner & Murcof: Metamorphosis Adams · Cage Feldman · Glass · Pärt Online Rates £ 9.50 – £ 19.50

Thu 28.05 8 pm Hall One

Folk The Demon Barbers XL

Fri 29.05 7.30 pm Hall One

Classical The Feinstein Ensemble Vivaldi & Bach: Virtuoso Concertos

Sat 16.05 7.30 pm Hall One

Folk Breabach Online Rates £ 9.50 – £ 13.50

Classical Imogen Cooper, Henning Kraggerud & Adrian Brendel Schubert: The Piano Trios Online Rates £ 9.50 – £ 34.50

Mon 18.05 7 pm Hall One Vanessa Wagner (23.05)

Words Do It Like a Woman: Caroline Criado-Perez

Folk Bruce Molsky

Sat 30.05 8 pm Hall Two

Jazz TG Collective & The Mike Fletcher Trio

Online Rates £ 9.50 – £14.50

Online Rates £ 9.50 – £12.50

Sun 31.05 11.30 am Hall One

Classical Words Coffee Concerts Jeffrey Siegel: Schubert in the Age of the Sound Bite Part of the Keyboard Conversations® series

Online Rates £ 9.50

Online Rates £ 9.50 – £14.50

Folk Chris Smither Online Rates £ 9.50 – £14.50

Thu 21.05 7.30 pm Hall One

Classical Florilegium: Friends & Rivals Chamber Music by Haydn & Mozart Online Rates £ 9.50 – £ 26.50

MINIMALISM UNWRAPPED | WEEK 6 Contemporary Classical The Duke Quartet Hunting:Gathering Bryars · Richter · Volans Online Rates £ 9.50 – £ 29.50 Gisela João (04.06)

Fri 29.05 8 pm Hall Two

in conversation with Bridget Christie

Wed 20.05 8 pm Hall Two

Fri 22.05 7.30 pm Hall One

Online Rates £ 9.50 – £15.50

Online Rates £ 9.50 – £ 29.50

Online Rates £ 9.50 – £ 29.50

Fri 15.05 8 pm Hall Two

Online Rates £ 9.50 – £12.50

Sun 31.05 7.30 pm Hall One

Classical English Chamber Orchestra & Gianluca Marciano with Ana de la Vega (flute) Haydn · Mozart · Verdi · Pärt Online Rates £ 9.50 – £ 29.50


World Film Mariza & the Story of Fado Online Rates £ 6.50


Book tickets

Thu 04.06 7 pm Hall Two

Words Poetry London Summer Launch

Wed 17.06 7.30 pm Hall One

Online Rates £ 3.50

Thu 04.06 8 pm Hall One

World Monsieur Doumani + Gisela João Online Rates £ 9.50 – £ 24.50

Fri 05.06 6.20 pm St P Room

World Film Sisters Online Rates £ 6.50

Fri 05.06 7.30 pm Hall One

World Duncan Chisholm + Mahsa & Marjan Vahdat Online Rates £ 9.50 – £ 24.50

Fri 05.06 9.30 pm Hall Two Sat 06.06 2 pm Hall Two Sat 06.06 6.15 pm St P Room

World Afriquoi

Simon Broughton in conversation with pianist Kishon Khan & members of the Shikor Bangladesh All Stars FREE event, but a ticket is required.

Sat 06.06 7.30 pm Hall One

World Shikor Bangladesh All Stars with Lokkhi Terra Online Rates £ 9.50 – £ 24.50

Sat 06.06 8 pm Hall Two

Jazz Kit Downes Trio + Tricko

(Kit Downes & Lucy Railton) Online Rates £ 9.50 – £ 12.50

Sun 07.06 2–6 pm Hall One

Classical ChamberStudio Public Masterclass with Sir András Schiff Online Rates £9.50 Free to students (with ID)

Thu 11.06 7.30 pm Hall One

SWEPT AWAY: MUSIC IN 1920s BERLIN Festival passes available

Fri 19.06 6.30 pm St P Room

Classical Martino Tirimo’s Schubert The Great Piano Works – III Online Rates £ 9.50 – £ 24.50

Classical Words Swept Away Pre-Concert Talk: Unjustly Neglected –

How Music was Banned and Forgotten

FREE event, but a ticket is required.

Fri 19.06 7.30 pm Hall One

Classical Swept Away Opera in Miniature: Toch, Weill & Hindemith The Continuum Ensemble

Duncan Chisholm (05.06)

Philip Headlam (conductor) Bateman · Dennis · Jones · Rees Meyn · Doyle · Holliday

World Family She’koyokh: Kids’ Concert

World Words Talk: Bangladesh Roots

Folk Martin Simpson, Andy Cutting & Nancy Kerr Online Rates £ 9.50 – £19.50

Online Rates £ 9.50 – £ 14.50

Online Rates £5 per child (with free accompanying adult)


Online Rates £ 9.50 – £ 24.50

Sat 20.06 Exhibition Closing Day Alexander Lindsay: Piano Nobile ALTITUDE Kings Place FREE admission. Sat 20.06 6.30 pm Hall Two

Words Banned Expression in Tibet Online Rates £ 6.50 – £ 9.50

Sat 20.06 6.30 pm St P Room

Classical Words Swept Away Pre-Concert Talk:

Afriquoi (05.06)

Musical Modernism and the Weimar Republic FREE event, but a ticket is required.

Sat 20.06 7.30 pm Hall One

Classical Swept Away Toch: Violin and Cello Sonatas + other works The Continuum Ensemble

Ticciati · Nelsen · Spooner · Finch Online Rates £ 9.50 – £ 16.50

Sun 21.06 2 pm St P Room

Classical Words Swept Away Pre-Concert Talk: Art, Film and Literature in Berlin and Vienna

during the Inter-War Years

FREE event, but a ticket is required. Martin Simpson, Andy Cutting & Nancy Kerr (17.06)


Mar  — Aug 2015

Sun 21.06 3 pm Hall One

Classical Swept Away Weill: Das Berliner Requiem BBC Singers & The Continuum Ensemble Philip Headlam (conductor) Online Rates £ 9.50 – £ 16.50

Sun 21.06 4.30 pm St P Room

Classical Words Swept Away Pre-Concert Talk with Annabel Arden & Neil Bartlett In Their Own Words: German Poetry, Drama and Fiction of the 1920s FREE event, but a ticket is required.

Hugo Ticciati (18.04 + 20.06 & 21.06)

Sun 21.06 5.30 pm St P Room

Classical Words Swept Away Pre-Concert Talk & Discussion: Refugee Artists in Europe Today FREE event, but a ticket is required.

Sun 21.06 6.30 pm Hall One

wClassical Swept Away Toch: The Chinese Flute Weill: Violin Concerto The Continuum Ensemble Philip Headlam (conductor) Sarah Tynan · Hugo Ticciati

Thu 09.07 Exhibition Opening Day The Ruth Borchard Piano Nobile Self-Portrait Prize 2015 Kings Place FREE admission. Sat 11.07 All Day Kings Place

Interact Kings Place Chess Festival 2015 Online Rates from £ 15

Thu 23.07 Summer School to Sun 26.07 IGF Guitar Summit 2015 Kings Place See website for booking details Thu 23.07 Contemporary to Sun 09.08 Tête à Tête Opera Festival Kings Place On Sale 7 May & Central See further announcements on the Saint Martins website for booking details Fri 14.08 7.30 pm Hall One

Progressive Rock Big Big Train

Sat 15.08 7.30 pm Hall One

Progressive Rock Big Big Train

Sun 16.08 2 pm Hall One

Progressive Rock Big Big Train

Thu 20.08 2 pm Hall One

Classical National Youth String Orchestra Celebrating Nielsen

Online Rates £ 36

Online Rates £ 36

Online Rates £ 36

Online Rates £ 9.50 – £ 24.50

Sun 21.06 9 pm Hall One The Ruth Borchard Self-Portrait Prize (09.07)

Classical Swept Away Berlin in Light: Cabaret-Revue Songs of the 1920s

Damian Iorio (conductor) Christina Åstrand (violin)

Dennis · Schaufer · Headlam

Online Rates £ 9.50 – £ 12.50

Online Rates £ 10

Sat 20.06 Closing Day Pangolin London

Exhibition Jon Buck: Colour FREE admission.

JULY & AUGUST Sat 04.07 8 pm Hall Two

Tête à Tête Opera Festival (23.07–09.08)

Contemporary Warwick Blair Ensemble Online Rates £ 10.50

Wed 08.07 Exhibition Opening Day Sculptors’ Prints Pangolin & Drawings London FREE admission.

ERRATUM Composer Benjamin Wallfisch’s An Eternal Window, the setting of Yehuda Amichai’s poem, was performed by the Fibonacci Sequence on 7 Dec 2014. It is a piece published by Peters Edition and commissioned by Carmel Hart (and not the performing ensemble as incorrectly stated in What’s On Dec 2014 – Mar 2015), who dedicated it to the National Gallery’s Myra Hess Day, 2011. Kings Place What’s On strives for complete accuracy but mistakes sometimes slips in. If you spot anything, please e-mail with the title of the article and the page number.


Book tickets 020 7520 1490





Tickets are cheaper if booked online. (The online ticket prices are shown in the listings).


Kings Place aims to be accessible to everyone, and all performance spaces offer suitable seating for wheelchair users. Please inform the Box Office Staff of any access requirements when booking. There is an induction loop at the Box Office Welcome Desk to assist those with hearing aids. An infrared system is installed in Halls One and Two, with hearing advancement headsets available for audience members who do not use a hearing aid. Neck loops are also available to use with hearing aids switched to the ‘T’ position. All areas are accessible to those with Guide & Hearing Dogs. For any access booking enquiries please email

Kings Place is situated just a few minutes’ walk from King’s Cross and St Pancras stations, one of the most connected locations in London and now the biggest transport hub in Europe.

Arriving Late We will endeavour to seat latecomers at a suitable break in the performance, although this may not always be possible and in some instances latecomers may not be admitted at all. Tickets are non-refundable.

Bike There is a Barclays Bike Hire Docking Station on Crinan Street. For its latest status and cycling routes please visit: cycling or call: +44 (0)20 7222 1234.

Please add £2 per ticket to the online price if booking by telephone or in person. Kings Place do not charge any additional booking or postage fees. Group Bookings Buy six or more tickets per event, and save 20%. Group discounts are available through the Box Office only and are not bookable online. May not be applicable for some events and subject to availability. Online Secure online booking 24 hrs Kings Place Box Office +44 (0)20 7520 1490 Box Office Opening Hours Mon, Wed, Thu, Fri & Sat 12–8pm; Tue 10–5pm; Sun 12–7pm (closed Bank Holidays). Box Office Opening Hours are subject to change.

Assigned Seating – Choose your own seat when booking. £9.50 Saver Seats can only be purchased online and are limited in availability. You are guaranteed a seat. Its location will be allocated by the Box Office. Tickets may be collected at any time during the hour before the performance. HALL TWO

Kings Place 90 York Way London N1 9AG

All seating is general admission. Some events may be standing only. St Pancras Room All seating is general admission. Some events may be standing only.

Taking Pictures The use of cameras, video or sound recording equipment is prohibited during performances, concerts and exhibitions. Kings Place may take pictures during your visit that are later used for promotional purposes. Returns Policy Tickets cannot be refunded or exchanged, except where an event is cancelled or abandoned when less than half of the performance has taken place.

Public Transport The Transport for London Journey Planner provides live travel updates and options on how to reach Kings Place quickly and accurately. You can also call London Travel Information on: +44 (0)20 7222 1234. Car The building is outside the Congestion Charge Zone. The nearest car park is at St Pancras Station on Pancras Road, open 24 hours, 7 days including Bank Holidays.


Proofreader Susannah Howe Printer Indigo Press

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Editorial Emrah Tokalaç Michael Green Amy Sibley-Allen Hannah Cooke Alice Clark (online) Lindsay Garfoot (online)

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Art Direction Julie Hill

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Editor-in-Chief Helen Wallace

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Contact +44 (0) 20 7520 1440




Publisher Kings Place Music Foundation


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Rotunda Bar & Restaurant is the perfect place to dine and enjoy a drink. With our waterside setting, and a range of dining options including a full à la carte menu, pre-performance menu, light post-performance supper, as well as smaller nibbles, bar food and a great range of beers and wine, there is something to suit everybody. 020 7014 2840. For a quick bite, the Green & Fortune Cafe is ideal, serving a selection of daily hot specials, soups and hot carvery rolls alongside freshly made salads, sandwiches and cakes. 020 7014 2850. Prior to the performance, you may place your interval order at the Concert Bar, situated adjacent to the concert halls.

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Mar  — Aug 2015

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British  Library

Programming Peter Millican (Director of Programmes) Amy Sibley-Allen (Head of Programme; Jazz, Contemporary and Learning & Participation) Hannah Cooke (Classical) Michael Green (Folk and Americana) Geraldine D’Amico (Spoken Word) Zoë Jeyes (Comedy) With thanks to the team at Kings Place Music Foundation © Kings Place 2015. All material is strictly copyright and all rights are reserved. Reproduction in whole or in part without the written permission of Kings Place is strictly forbidden. The greatest care has been taken to ensure the accuracy of information in this magazine at the time of going to press, but we accept no responsibility for omissions or errors. The views expressed in this magazine are not necessarily those of Kings Place.














Katia & Marielle Labèque © Umberto Nicoletti | p. 1 Peter Millican © Nick White; Simon Broughton © Kate Howells; Oliver Coates © Ben Blossom; Clare Button, Philip Headlam © Supplied Photos | p. 2 The Labèques © Umberto Nicoletti; Oliver Coates © Ben Blossom; Shikor Bangladesh All Stars © Mohammed Saber Ahmed Shibly; Zoe Rahman © llze Kitshoff | p. 3 Rura © Somhairle MacDonald; Robert Douglas-Fairhurst © Supplied Photo; John Hegley © Jackie di Stefano; Polyphemus by Bryan Kneale © Pangolin London | pp. 4–5 Volcán Zapaleri Storm © Alexander Lindsay | p. 6 The Labèques © Umberto Nicoletti | p. 8 Vanessa Wagner © Balasz Borocz/Pilvax Studio | p. 9 Meredith Monk © Johan E Elbers; Julia Wolfe © Peter Serling; Claudia Molitor © Supplied Photo | p. 11 Shikor Bangladesh All Stars © Mohammed Saber Ahmed Shibly | p. 12 Lokkhi Terra © Sylvia Cruz del Alamo | p. 14 Ewan McLennan © Supplied Photo | p. 15 Dick Guaghan © Niall Reddy | p. 16 Roddy Woomble © Thomas Curtis | Brodsy Quartet © Eric Richmond | pp. 18–19 Oliver Coates © Ben Blossom | p. 20 Berlin in the 1920s © Alamy | p. 21 Ernst Toch © Supplied Photo; Sarah Tynan © Chris Gloag | p. 22 Mikhail Rudy © Supplied Photo p. 24 Leonore Piano Trio © Eric Richmond | Zemlinsky © Lebrecht | Krysia Osostowicz & Daniel Tong © Sara Lipowitz | p. 28 Adrian Brendel © Jack Liebeck | p. 29 Anna Dennis © Supplied Photo | p. 30 BBC Singers © John Wood | p. 31 Lucy Schaufer © Dan Welldon | p. 32 Loré Lixenberg at Tête à Tête Festival © Supplied Photo | p. 33 Jennifer Walshe © Supplied Photo | p. 34 Sidsel Endresen & Jan Bang © Alf Solbakken | p. 35 Murcof © Alejandro Vidal | p. 36 Monsieur Doumani © Eleni Papadopoulou | p. 37 Masha & Marjan Vahdat © Marianne Lystrup | p. 39 Le Vent du Nord © Stéphane Najman | p. 40 Demon Barbers © Supplied Photo | p. 41 Rura © Somhairle MacDonald | p. 42 9Bach © Supplied Photo | p. 43 Foghorn Stringband © Mike Melnyk | p. 44 Courtney Pine © Supplied Photo | p. 45 Zoe Rahman © llze Kitshoff | p. 46 Robert Douglas-Fairhurst © Supplied Photo | p. 47 Patrick Gale & Zeb Soanes © | p. 48 WB Yeats © Supplied Photo | p. 49 Caroline Criado-Perez © Caitlin Mogridge | p. 50 John Hegley © Jackie di Stefano | p. 51 Astra by Bryan Kneale © Pangolin London | p. 52 The Marble Caves © Alexander Lindsay | p. 53 Night Bird by Jon Buck© Pangolin London | p. 54 Josh Rouse © York Wilson p. 55 John Taylor © C. Forbes; Andrew Kennedy © Benjamin Ealovega; Polyphemus by Bryan Kneale © Pangolin London | p. 56 James Grant; Kathryn Roberts & Sean Lakeman © Supplied Photos; Rura © Somhairle MacDonald | p. 57 Lucy Parham © Sven Arnstein; Trio Van Beethoven © Reinhard Winkler; Adam Waldmann (Kairos 4tet) © Tom Barnes | p. 58 Henning Kraggerud © Robert Romik; Vanessa Wagner © Balasz Borocz/Pilvax Studio; Gisela João © Mário Pires | p. 59 Duncan Chisholm © Somhairle MacDonald; Afriquoi © Stefan Klenke; Martin Simpson, Andy Cutting & Nancy Kerr © Elly Lucas | p. 60 Hugo Ticciati; Painting: Thomas Newbolt Self-Portrait; Loré Lixenberg at Tête à Tête Festival © Supplied Photos p. 61 Halls One & Two © Keith Paisley | p. 64 Imogen Cooper © Sussie Ahlburg


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Treat earlier – Richmal Crompton’s William as told by Martin Jarvis & @richardsisson @KingsPlace. Part of @Lucy Parham’s fine Word/Play series

Some of the most outstanding UK #Jazz artists blessed us @KingsPlace tonight @MammalHands & @Matthalsalljazz #Buzzing

Loved the Stephen Montague tonight @KingsPlace & @Ldn_Sinfonietta not heard it before, gentle, intelligent music, a tribute to Bach & Haydn

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Mar  — Aug 2015

Imogen Cooper

Imogen Cooper is one of Britain’s most revered pianists. On 16 May she comes to Kings Place to perform both of Schubert’s Piano Trios with her godson, cellist Adrian Brendel, and Norwegian violinist Henning Kraggerud.


‘I take no pleasure in being didactic, but thrive on shared ideas.’

When you give masterclasses on Schubert is there a recurring theme? In masterclasses I find myself mostly encouraging a characterisation of Schubert’s contrasting sides: sheer warm humanity, and terror and shadow, so closely juxtaposed. Also I try to enable the subtle freedom of tempi necessary to organically encompass this varied emotional material. This takes some years of living with until the process becomes natural. How would you characterise his two great piano trios, the B flat and the mighty E flat? The B flat Trio is a lighter work than the ‘mighty’ E flat (good choice of word). The difference is mostly audible in the slow movements, both very beautiful, but the E flat much darker and more relentless, the B flat more peaceful, despite, as

ever with Schubert, a more shadowy central episode. What do you bring to those chamber pieces from your experience of performing the song cycles? Schubert is always telling a human story, whether with words, as in Lieder, or without, as in solo and chamber music. There is no more enriching way of understanding this than by performing both. His major works, in any format, are long too: it helps to sustain a 38-minute sonata if one has performed Winterreise which is almost the double. How did you come to meet Adrian Brendel, and do you have any special memories of working with him? I ‘met’ Adrian Brendel when he was still in his mother’s tummy, and she and his father asked me to be his godmother. The rest is history … There was a

beautiful concert when he was still a very young boy and we played Beethoven’s G minor sonata in a church in Hampstead. I think we all realised then that the road ahead was this one, for him. How did you meet Henning, and what particular qualities does he bring? I met Henning through the Oxford Chamber Music Festival many years ago, and was struck by his noble, beautiful and intelligent playing. It took us a while to come together on a platform, and fortunately he and Adrian are close colleagues. Our trio work is a joy. Do you often feel ‘responsible’ for a trio performance simply by dint of being the pianist and having the full score in front of you? I enjoy playing trios with colleagues who are extremely familiar with the score and as such need little guidance from me. I take no pleasure in being didactic, but thrive on shared ideas. Of course, the chemistry must be right in the first place. When you first started directing orchestras, did it come very naturally or did you have to learn a new way of communicating as a conductor? Directing from the keyboard is still a challenge. An orchestra leader of like mind

is vital, one who is prepared to contribute equally to a rehearsal. In concert I make few gestures, am inclined to show by energy and general body language rather than ill-executed gestures. Good orchestras do not need them, they listen, and to each other. What else are you looking forward to performing this spring? I will be directing the Philadelphia Orchestra in early February, always a joy. There will also be a wonderful new (to us!) Lieder programme with the Dutch baritone Henk Neven, of Mendelssohn, Schumann and Mahler. Have there been any particular highlights of performing at Kings Place over the last six years? One of the highlights for me at Kings Place was the opening of the BBC Schubert marathon a couple of years ago. It was a live recital and the atmosphere was extraordinary, the piano at its best and the hall packed. Somehow the gods were with us on that day. I also treasure the very exciting cello/piano recital with the wonderful Sonia Wieder-Atherton in April 2014, culminating in the Rachmaninov Sonata. I would also like to mention some very beautiful Mozart piano quartets with Katharine Gowers, Krzysztof Chorzelski and Adrian Brendel.


Book tickets 020 7520 1490

DINING OPTIONS AT KINGS PLACE Rotunda Bar and Restaurant Delectable dishes centered around the beef & lamb from our own Northumberland farm.

Why not make a reservation online whilst booking your tickets at

Award winning wine list and wide range of craft beers. Waterside dining alongside Regent’s Canal in our secret garden once the weather gets warmer. EARLY EVENING SET MENU Two courses for £19.50 and three courses for £24.50. Available Monday to Saturday, 5.00pm – 7.30pm. sundays Classic Roasts – Bloody Marys – Craft Beers – Children’s Den Plus fantastic sharing joints including studded leg of lamb and rib of beef, served with all the trimmings from £15.00 per person. MINIMALISM UNWRAPPED OFFERS Pre-concert: Three courses, with the option to have pudding after the performance if preferred, as well as a glass of Prosecco during the interval and a programme for £29.50. Post-concert: A light, one-course supper post-concert and glass of Champagne for £19.50.

HOT DISHES   SANDWICHES SALADS   COFFEE   CAKE i f you fancy a quick bite , s u c h as b e e f & ale casserole , lamb & veg e ta b l e st e w o r our hot carvery sandwic h e s to n a m e b u t a few , then pop in & enjoy o n e o f o u r homemade specials befor e h e a d i n g down to the concert h a l l s . we are also proud to sel l a g r e at selection of sandwiches as w e l l as cakes & pastries which ar e f r e s h ly made by our baker eve ry day. g r e e n a n d fo rt u n eca f e .   0 2 0 70 1 4 285 0  ga ndfcafe  rotundalondon 020 7014 2840


Mar  — Aug 2015

from plainsong to arvo pärt, steve reich to scanner

steve reich · a winged victory for the sullen katia & marielle labèque · joanna macgregor murcof & vanessa wagner · aurora orchestra oliver coates · scanner · nik bärtsch · chroma gavin bryars · fidelio trio · the smith quartet fretwork · the sixteen · london sinfonietta

90 York Way, London N1 9AG |

King’s Cross | online savers £9.50

| Drumming, Steve Reich (part4, bar#589) © Moira Gil

Profile for Kings Place

Kings Place - What's On - March to August 2015  

Welcome to the Spring/Summer Season 2015 at Kings Place.

Kings Place - What's On - March to August 2015  

Welcome to the Spring/Summer Season 2015 at Kings Place.