1000 years of music
â€˜A musician possesses a mysterious power: by means of his rhythms he can chop up time here and there, and can even put it together again in the reverse order, a little as though he were going on a walk through different points of time, or as though he were amassing the future by turning to the past, in the process of which, his memory of the past becomes transformed into a memory of the future.â€™ Olivier Messiaen
In 2018 Kings Place reaches its tenth anniversary, so it seemed an opportune moment to consider the past, present and future – Time Unwrapped. Olivier Messiaen claimed that the perception of time was at the root of ‘all music’. Stravinsky went further, suggesting that music’s primary purpose was to help us understand our relationship with time, and that only through music could we truly experience the present moment. Along with our artist-in-residence, violinist and director Hugo Ticciati, we have created a yearlong series of music that manipulates time, marks time and follows musical lineages across time. We begin at the beginning with Haydn’s Creation, from the Orchestra of the Age of Enlightenment, and end with a New Year’s Eve Countdown party from Aurora Orchestra. Along the way we dip into the seasons of Buenos Aires, and India, a musical clock from hangplayer Manu Delago, and a Forest of Clocks with Contemporary Music for All. In our Time & Tradition folk weekend, we look at the great folk dynasties, while jazz events include The Ragging of Time and a focus on Dave Brubeck. But this series is also about unique temporal experiences, from the deep stasis of Feldman, Satie and Pärt to the superhuman velocity of Nancarrow and Andriessen, from the spiralling loops of John Adams, the ‘bird and insect’ time of Gérard Grisey, the compressed intensity of Janacék to the heavenly lengths of late Schubert or the eternal time of Messiaen’s monumental Visions de l’Amen for two pianos. With the London Sinfonietta we’ll explore how Einstein’s radical physics had its contemporary correlative in music, and we’ll travel back in time with The Sixteen to hear the ‘old’ music that Monteverdi made new. Join us, too, for Handel’s Triumph of Time and Truth, his first and last oratorio, early and recent music from Steve Reich with the Colin Currie Group and Stockhausen’s Stimmung in its 50th-anniversary year. Hugo Ticciati brings six key programmes, including a project with Dame Evelyn Glennie, an exciting collaboration with Japanese balancer
‘Music is the sole domain in which man realises the present’ Igor Stravinsky Miyoko Shida, Mozart’s Requiem with Voces8 and Messiaen’s Quartet for the End of Time. Artists making their Kings Place début include pianists Yulianna Avdeeva, Víkingur Ólafsson, Icebreaker and Explore Ensembles, Theatre of Voices from Copenhagen, Recomposed, William Basinski, the Crick Crack Club and the monks of Downside Abbey, performing their offices away from the Abbey for the first time. We’re thrilled that Glasgow’s Sonica Festival has embraced ‘time’ too, with its usual bold imagination, and Poet in the City explores both memory and the poetry of Ezra Pound. Keep your eyes peeled on our galleries Piano Nobile and Pangolin London, both will also be reflecting our theme during 2018. I’d like to take this opportunity to thank the fantastic programming team for their work on this series. Stop all the clocks and dive into Time Unwrapped.
Peter Millican, Executive Chair
Paul Griffiths explores the evolving relationship between time and western music in the last 1000 years
We can spend it, pass it, lose it, save it, mark it, beat it or keep it, but probably, like St Augustine, we do not know what time is. This is why we have music, to tell us. We have Stravinsky to tell us, too. ‘The phenomenon of music’, goes a passage from his autobiography of 1936, ‘is given to us with the sole purpose of establishing an order in things, including, and particularly, the coordination between man and time.’ The sentence has regularly been cited as a pose, and a ghostwritten pose at that. But what if Stravinsky – who, after all, gave the book his blessing – was on to something? We might more commonly think that the essence of music is sound, but just as a picture needs space, within which the visual elements are placed in relation to one another, so a musical composition needs time, within which to unfold its sounds. We can
‘in parallel with the development of mechanical clocks, rhythmic notation comes along’
regard music as a flow of sound through time, but we can regard it, too, as a flow of time made perceptible by sound – ‘coloured’ by sound, Messiaen would say. The time flowing through the earliest written music of the west, plainsong, is perhaps the changeless, ceaseless time of eternity. The chant will stop, on the final of its mode, but this is not the end, for another chant will soon take over to continue the daily office of prayer, such as we will hear from the monks of Downside. Also, plainsong does not presuppose a listener; everyone was to be a performer, not so much experiencing the music as creating it, living inside it. We start to get listeners when we have music as a secular art, with the arrival of the first troubadours, in the eleventh century. Then things start to happen, in music and in time. Strikingly in
‘With tonal harmony, music could dispense with words, it had its own driving force’
parallel with the development of mechanical clocks, in the thirteenth century, rhythmic notation comes along, and we are no longer in the smooth time of eternity but in time precisely counted out. This counted time, which listeners can observe, gradually gave way to felt time, which carries them in its sway. The pursuit of that was the great musical programme of the Renaissance, for just as painters were creating the individual viewer, for whom the picture would be laid out like a real scene, so composers were creating the individual listener, in whose mind the music would seem to be moving in the way that time, in an optimistic age, could be felt to be moving, ever onward.
It is in this way that the music of the sixteenth century, the music of Gombert, Byrd and Victoria, may be said to be realistic, because it accords with a real experience of time, as much as the work of painters of that era accords with a real experience of space. And just as the painters had a new technique to achieve their aim – perspective – so did the composers, in tonal harmony, harmony that pushed on coherently not just from one chord to the next but from the beginning of a composition to its end. With such harmony, music could dispense with words – it had its own driving force – and we find the first instrumental pieces that are more than dances. By the mid-seventeenth
century everything was in place, and music of progressive time – the music to which we are perhaps still most attached – could begin its spectacular ascendancy of a quarter-millennium. Bach and Handel give us clear and confident time, time proceeding in ways we are invited to follow and understand. A century on from here, in the late works of Beethoven and Schubert, time’s purposes are becoming more uncertain, with the growing intuition that its orderliness may be an illusion. The measure becomes not so much the collective time of clock and calendar as the individual time of the diary, with its regular routines, its spasms of excitement and its empty days.
‘The revolving time of Minimalism, the constructed time of Messiaen, the empty time of Cage, the unknowable time of Feldman’
By the end of the nineteenth century we have the suspicion, so simply expressed by Satie, that time may not be moving forward at all but endlessly circling – as it was for the monks of the Middle Ages, and as it is, perhaps, within the nonwestern cultures whose music was beginning to enter Europe. Then jazz gave us time jolting. Music through the twentieth century came increasingly to recognise that time steadily elapses only for us human beings, who live lives of limited span, gathering experiences and memories as we go – just as compositions of the eighteenth and nineteenth centuries do. All the musical turmoil of this period – and beyond – can be ascribed to a search for more universally valid frames of reference, for other truths of time. Tonal harmony, made to convey coherent progress, could no longer be trusted. The reality
of time was not that of the human lifespan, but might rather be one of haphazard events brought about by unknown forces, or of an immense stasis, or of multiple simultaneous processes unrelated to one another (the times of butterflies and quasars). Or time might not be real at all, only an illusion caused by our transitory passage through a universe fully formed in its four dimensions. Or the reality of time might be one of perpetual repetition, as the cosmos keeps expanding, and possibly contracting, through cycles of hundreds of billions of years. All these understandings of time and more have their corollaries in recent music – in the revolving time of Minimalism, the abstract time of hypercomplexity, the constructed time of Messiaen or Harrison Birtwistle, the empty time of Cage, the unknowable time of Feldman, the imaginary time of neotonality. Now, though, we are back with St Augustine, not knowing when we are.
Sat 6 Jan
Sat 6 Jan
Sun 7 Jan
On Time Out of Time William Basinski Hall One 8pm Online £24.50 – £19.50 Savers £9.50
Crick Crack Club
When Time Began Creation myths from around the world Crick Crack Club
In The Beginning The Creation
Hall Two 11.30am Online £6.50 Under 16s, £8.50 Adults, £21.60 Family (no more than 2 adults)
Haydn The Creation
Performance storytelling with Emily Hennessey, Sheema Mukherjee, Ben Haggarty & Nick Hennessey
We start our Time Unwrapped series at the very beginning with the first-ever performance of Haydn’s Creation in Hall One.
Ádám Fischer, co-founder of the Haydn Festival in Eisenstadt, leads the OAE, the Choir of the Enlightenment and a trio of Rising Star soloists as Haydn’s angels in what promises to be a spectacular start to the New Year.
Sounding Time St Pancras Room 6.15pm Online £6.50
Inspired by performances of Handel’s Messiah in London and an English libretto, Haydn unleashed his imagination on the greatest story of them all. The Creation abounds with vibrant sound-painting, from his audaciously radical visions of Chaos, sublime sunrise and blinding revelation of light to the zoological bonanza of Part Two, where whales, lions, horses and birds are vividly conjured, ending with the lowly worm’s ‘sinuous trace’.
If you’re aged 8 to 108 then this is your chance to enter a cinema of the imagination from the moment that time began.
Orchestra of the Age of Enlightenment Rising Stars of the Enlightenment Ádám Fischer conductor
In the beginning there was ice… In the beginning there was an ocean… In the beginning there was nothing! Ravens with insatiable appetites, hairy gods, goddesses with arms galore, and eggs laid in inexplicable places... Three fabulous Crick Crack Club storytellers are joined by sitar player Sheema Mukherjee for a whistle-stop tour through some of the wildest and most enchanting creation stories on the planet.
Hall One 7.30pm Online £59.50 – £19.50 | Savers £9.50
Master of the drone William Basinski comes to Kings Place with a brand-new project on the subject of Time. Best known for his Disintegration Loops albums from the early 00s, the New York-based avantgarde composer sculpts samples, drones and loops into soundscapes rich in melancholic atmosphere. In his own words: ‘I use feedback loops to achieve something transcendental, to find something eternal that I can listen to over and over.’
‘Basinski’s music has a core of beatific sadness...’ Pitchfork
Distinguished music historian Paul Griffiths, author of A Concise History of Western Music, gives Time Unwrapped’s keynote lecture on music’s relationship with time over the last thousand years. Ádám Fischer
Fri 12 Jan Aurora Orchestra
Sat 13 Jan
Reincarnations The Sixteen
SUN 14 JAN Max Mandel (OAE)
Hall One 7.30pm Online £49.50 – £19.50 | Savers £9.50
Memento Poet in the City and Aurora players
Programme to include: Monteverdi Missa ‘In illo tempore’ Gombert Motet ‘In illo tempore’ Settings of the Song of Songs by Victoria and Guerrero Seamus Heaney Selections from Station Island
Hall One 7.30pm Online £22.50 – £14.50 | Savers £9.50
Schubert String Quintet in C Martin Suckling New commission New poetry by Frances Leviston Stuart Parkin speaker Frances Leviston poet Martin Suckling composer Principal Players of Aurora Orchestra
New technologies are poised to revolutionise computer memory, unlocking huge potential benefits for global society. This special interdisciplinary event explores our relationship with memory, with reflections from experimental physicist Stuart Parkin; and a performance of newly commissioned poetry and music by Frances Leviston and Martin Suckling. The starting point for Suckling’s new piece is one of the greatest works of chamber music ever penned, Schubert’s String Quintet – a masterpiece which itself carries the ‘memory’ of an earlier quintet by Mozart.
Kings Place residents Aurora Orchestra and Poet in the City host what promises to be an illuminating encounter between pioneers in art and science.
Time and Vision Orchestra of the Age of Enlightenment Bach, the Universe and Everything Hall One 11.30am Online £16.50 | Savers £9.50
JS Bach Cantata, BWV 143 ‘Lobe den Herrn, meine Seele’ (Praise the Lord, my soul) The Sixteen
Harry Christophers and The Sixteen create a chamber of echoes in this fascinating sequence on ‘time past’: Monteverdi’s music is linked to the earlier polyphonic tradition that so influenced him, and is here interleaved with the Dante-inspired poetry of Seamus Heaney. Monteverdi derived his striking Missa In illo tempore (Mass ‘At that time’) from a motet by Flemish maestro Nicolas Gombert, written a century earlier. Sensuous settings of the Song of Songs by the great Iberian composers Guerrero and Victoria will be woven through the Mass. In his 1984 collection Station Island Irish poet Seamus Heaney questioned his place in a nation riven by the Troubles. It includes the poem ‘In illo tempore’, which considers the grammar and politics of a Mass service. Heaney takes us on a Dantean voyage, encountering ghosts from his past, just as Monteverdi recalled and transformed the ideas of his forebears.
Charlotte Beament soprano Nicholas Pritchard tenor James Newby bass with Professor Helen F Gleeson, OBE, FInstP. Cavendish Professor of Physics and Head of School of Physics and Astronomy, University of Leeds Marvel at our extraordinary universe and the music of Bach, with the Orchestra of the Age of Enlightenment’s new series for inquiring and curious minds; divine music, lively conversation and stimulating science. There’s a focus on time as the Sunday morning series joins up with Time Unwrapped. Our special guest is experimental physicist Professor Helen Gleeson, who produced the first graphene-based liquid crystal device in collaboration with the team that discovered the wonder material at the University of Manchester. She discusses Time and Vision, and how the use of time-resolved x-rays unlocks the mysteries of materials at the microscopic scale, so they can be developed for use in everyday life.
Sat 20 Jan
Fri 19 Jan
Sun 21 Jan
Portrait Hugo Ticciati & Friends
London Chamber Music Sundays Hall One 6.30pm Online £39.50 – £16.50 | Savers £9.50 LCMS Friends discount applies
The Ragging of Time Hall Two 8pm Online £16.50 | Savers £9.50
Percy Pursglove trumpet Alex Ward clarinet Robert Jarvis trombone Simon H. Fell double bass Paul Hession drumset The Ragging of Time celebrates one hundred years of jazz history in a dizzying kaleidoscope that spirals from New Orleans to contemporary free jazz, taking in everything that lies between. In a work originally commissioned by Marsden Jazz Festival, Simon Fell constructs time tunnels between earlier periods in the history of jazz and the most recent developments in improvisation and instrumental abstraction. For Time Unwrapped Fell presents a new quintet version of this dazzling jazz panorama.
Colin Currie Group
Time Phase Colin Currie Group Hall One 7.30pm Online £39.50 – £19.50 | Savers £9.50
Steve Reich Music for Pieces of Wood New York Counterpoint Mallet Quartet Drumming Part 1 Vermont Counterpoint Quartet (2013) Colin Currie Group In the music of Steve Reich change is a perceptible process, sounding out over long and short spans, simultaneously fast and slow. The virtuoso Colin Currie Group, who specialise in performing the music of Reich, bring a programme of early percussive classics – Music for Pieces of Wood, Mallet Quartet and the ground-breaking Drumming Part 1 – alongside two intricate Counterpoints featuring clarinet and flute, where players perform along recordings of themselves. Canons spiral and seethe in ever more complex interlocking patterns, revolving in time. The evening culminates in the beguiling, lyrical Quartet (2013) written especially for Colin Currie. ‘[Quartet] is dedicated to Colin Currie, a percussionist who has broken the mould by maintaining his solo career with orchestras and recitals and also, quite amazingly, by founding the Colin Currie Group which plays whatever ensemble music he believes in. I salute him.’ Steve Reich
‘The perception of time is the source of all music and all rhythm.’ Olivier Messiaen
Messiaen Theme and Variations Improvisation around Bach Lutosławski Partita for violin and piano Rameau Suite in A minor (1728) (excerpts) Ravel Piano Trio
Hugo Ticciati violin Natacha Kudridtskaya piano Julian Arp cello Violinist Hugo Ticciati, artist-in-residence for Time Unwrapped, explores time from multiple perspectives in this Frenchinflected portrait recital. A Bach Partita is the starting point for an improvisation, and finds echoes in Rameau’s delicate Suite and Lutosławski’s own Partita, a work which also escapes time in its aleatoric episodes, where chance and choice come into play. Messiaen’s Theme and Variations recalls and reinvents its theme through five variations, culminating in a spell-binding suspended finale. Ticciati is joined by cellist Julian Arp and pianist Natacha Kudridtskaya for Ravel’s ravishing Piano Trio, in which the composer plays with dance metres and returns us to Bach in a grave Passacaglia.
Fiona Maddocks muses on the way we use music to mark out and measure time, and the manifold tricks it plays upon our sense of the temporal.
tick, tock ...
As beginners learning music, one of the first mandates we are given is: ‘Keep time!’. By chance, thinking about this article, I read an interview with the former hostage Terry Waite in which he spoke about his period in captivity. (He was captured by Hezbollah in 1987 and imprisoned for five years.) He said: ‘Time takes on new meaning when you’re deprived of natural light, freedom of movement and companionship. I spent my days sitting on the floor in total darkness with no books, no papers, nothing.’ In the end, time kept him. The humanitarian aspects of his comments are outside our scope here. I don’t want to make idle comparisons. Yet the sense of having none of the familiar ways of measuring time struck home. No watch or clock. No radio. No sunrise or sunset or full moon. Above all, no music. A short folk song, a military march, a fragment of plainsong, whatever musical culture his captors might permit, could have given Waite a tool to carve a notch on the unmarked continuum of his life. Out of such units, whether minutes or hours, cradle song or incantatory prayer, daily commute or repeated labour, we shape our days. Perhaps Waite had music in his memory. We can imagine a work we know well and love – say, a symphony by Beethoven or Brahms – and bring to mind an
aural snapshot of its shape, contours, colours compressed into a glance. Unless we have formidable musical skills we probably cannot run through the entire work in our heads without the help of a score. Only a performance or recording can fill the gaps. Yet we feel we know, and in our own way, own the piece in a split second’s recollection. One of music’s mysteries –hardly a revelation – is the way it plays tricks with time. Long can seem short, short interminable. A Wagner opera may appear to ‘fly’ by, while a ten-minute work whose language we do not understand weighs heavily. (Khachaturian’s Sabre Dance, fast and furious and lasting but a few minutes, to me feels endless. I have nothing against the composer.) Much of this kind of instinctive response is down to taste, and still incomprehensible neurological factors. Mostly, it springs specifically from the genius of a composer, and his or her use of rhythm, harmony, tempo, counterpoint. Think of the opening of The Creation. The pace is slow, lugubrious. Murky chaos reigns. As if warning of an imminent explosion, Haydn builds tension into the harmonies, urging us forward to a crisis without actually quickening the tempo. Only when the chorus sings ‘And there was light’ does release occur. Strings and timpani double their
‘AWagner opera may appear to “fly” by, while a ten-minute work whose language we do not understand weighs heavily.’
note values. In an instant we switch from stasis to frenetic action. Mozart’s fizzing overture to The Marriage of Figaro or Johann Strauss II’s breathless TritschTratsch Polka or, in random contrast, John Adams’s Shaker Loops, epitomise speed. Louis Andriessen’s De Snelheid (Velocity) for large ensemble starts steadily (with a wood block), skips into triple time and grows ever faster, tussling with the heavy-footed brass who strive to hold back the action. In his player piano studies, the American experimentalist Conlon Nancarrow runs wild with time, slowing down and speeding up simultaneously until all you can do is chuckle. Praising a work for its ability to hold us as if in suspended animation can be the highest accolade. Schubert’s late piano sonatas, Stockhausen’s Stimmung, Arvo Pärt’s Fratres all have that gift. Morton Feldman wanted to liberate us in our listening. A work lasting several hours, such as one of his string quartets, or the 80-minute For John Cage, makes strenuous demands. ’My whole generation was hung up on the 20- to 25-minute piece,’ he said. ‘It was our clock. We all got to know it, and how to handle it. As soon as you leave the 20- to 25-minute piece behind, in a one-movement work, different problems arise. Up to one hour you think about
form, but after an hour and a half it’s scale. Form is easy: just the division of things into parts. But scale is another matter.’ Other composers play more literally with time-watching. The clocks which tick and whirr at the start of Ravel’s L’heure espagnole, set in a clockmaker’s workshop embrace the madness of chronometry. Harrison Birtwistle’s five piano pieces, Harrison’s Clocks, began life after the composer read Dava Sobel’s Longitude. Thomas Adès evokes monotonous days in his quartet on tme The Four Quarters, eventually reaching ‘The Twenty-fifth Hour’, a time outside time. Ponchielli’s irresistible Dance of the Hours, from La Gioconda, outlines the span of a day. No surprise that Leopold Bloom has such affection for it in Joyce’s Ulysses, a novel which similarly traces the multiple durations, the breaths and sighs of an ordinary day – and which has music at its very heart.
Wed 31 Jan
Fri 9 Feb
Tuning In Stimmung
Fri 16 Feb Yulianna Avdeeva
Hall One 8pm Online £39.50 – £19.50 | Savers £9.50
Stockhausen Stimmung (Copenhagen vrs., 2006) Theatre of Voices
Katya Apekisheva & Charles Owen
Let There Be Light Hall One 8pm Online £39.50 – £19.50 | Savers £9.50
JS Bach (arr. György Kurtág) Chorale Preludes Messiaen Visions de l’Amen Katya Apekisheva & Charles Owen pianos
Love inspired Messiaen’s monumental Visions de l’Amen, composed after his release from a prisoner-of-war camp and encounter with the young pianist Yvonne Loriod. Written for the couple to perform, the suite opens with Creation and ends in Eternity with a long chorale. Its seven visions include ‘a wild and brutal dance of the stars’, meditations on the agony of Jesus, an ecstatic amen of desire, another of the angels, saints and birdsong, and, finally, an amen of judgement and ‘the amen consumed in Paradise’. Acclaimed duo Katya Apekisheva and Charles Owen, Directors of the London Piano Festival, preface this masterwork with the poignant duet arrangements of Bach chorale preludes György Kurtág wrote for himself and his wife, Márta.
We welcome Theatre of Voices to Kings Place for this 50th-anniversary performance of Stockhausen’s revolutionary vocal work. Stimmung returns us to the fundamentals of musical sound, the 24 partial overtones of a single chord. Using just six singers with microphones the composer radically redefined the concept of vocal music, and the relationship between word and tone. With its roots in ‘Stimme’, voice, ‘Stimmung’ not only refers to the tuning of voices but the inward tuning of one’s soul; when people feel in tune with one another they are said to be in a good ‘Stimmung’.
Hall One 7.30pm Online £49.50 – £19.50 | Savers £9.50
JS Bach Toccata in D, BWV 912 French Overture in B minor, BWV 831 Chopin 3 Mazurkas, Op. 59 Piano Sonata No. 3 in B minor, Op. 58 Yulianna Avdeeva piano
Theatre of Voices
Director of Theatre of Voices Paul Hillier, who first sang the work with Singcircle in the early 1970s and created the Copenhagen version in 2006, writes: ‘Stimmung offers a mirror to the world seen as a continuous process of transformation: words, syllables, and even individual phonemes are constantly being changed into new forms, their meanings set spinning as one process stimulates another.’
‘Music is the sole domain in which man realises the present.’ Stravinsky
Inheritance Bach and Chopin
Rising Russian star Yulianna Avdeeva illuminates the deep spiritual connection between Chopin and JS Bach. Chopin began each day with Bach’s Welltempered Clavier, a collection that formed the bedrock of his musical thinking; it was the only score he took with him to the Mallorcan monastery in Valldemosa. Yulianna begins with the magnificent Toccata in D and grand French Overture, moving on to the polyphonic complexity of Chopin’s Sonata No. 3, where fugue and canon-like episodes play a crucial role in the architecture of the piece. We’ll hear, too, three Mazurkas, those wistful, elusive dances which can only be realised through the ‘stolen time’ of rubato. ‘Yulianna Avdeeva not only has impeccable technique, she “knows” her Chopin, and conveys his music with intensity and tenderness. She loves its furore, its melancholy and fragility.’ Der Westen.
Sat 17 Feb
Sat 17 Feb
Fri 23 Feb
UNPLUGGED Manu Delago & Friends Hall One 7.45pm Online £24.50 – £14.50* Savers £9.50 *15% discount if you book for Inside a Human Clock and Unplugged
Guests to include: Max Baillie violin Sam Vicary bass Chris Norz percussion Pete Josef vocals ela
Inside a Human Clock Manu Delago & Friends
Prophecy Scottish Ensemble with Christine Rice and Matthew Truscott
Hall Two 6pm & 9.30pm Online £16.50* | Savers £9.50 *15% discount if you book for Inside a Human Clock and Unplugged
World-renowned hang-player and percussionist Manu Delago has responded to the Time Unwrapped theme with an innovative musical concept: the human clock. Summoning a group of colleagues from all walks of music, he’ll create an hour-long spatial sound experience. Inspired by the mechanics of a clock (a word that derives from the same source as German ‘Glocke’ – bell), the performers will become the clock within which an audience sits throughout the duration of the performance, travelling around them in their own time. As Delago comments: ‘Have you ever tried measuring the duration of an hour without the help of any device? Depending on what we’re doing mentally and physically, time seems to pass slower or faster. We also seem to have this connection with our own pulse, so that time passes slower when our heart rate is higher. Therefore, musicians may play faster when they’re nervous or out-ofbreath, or more unselfconsciously when they’re relaxed. Let’s see what effect the experience has on our ability to synchronise and judge duration.’
Hall One 7.30pm Online £39.50 – £16.50 | Savers £9.50
Composer and percussionist Manu Delago has not only collaborated with artists such as Björk, Anoushka Shankar and The Cinematic Orchestra, he’s appeared as soloist with the London Symphony Orchestra, Zürich Chamber Orchestra and Aurora Orchestra. Inspired by those experiences, he’s created a new chamber orchestra with special guest vocalists to perform new arrangements of his recent albums Silver Kobalt and Metromonk.
Stravinsky Apollon musagète (1927–28) (first part) Haydn Arianna a Naxos, Hob. XXVIb:2 Berlioz ‘Les Grecs ont disparu … Malheureux roi!’ (Cassandre’s aria) from Les Troyens ‘Ah! Ah! Je vais mourir! ... Adieu, fière cité’ (Didon’s aria) from Les Troyens Purcell Overture to Dido and Aeneas Curtain Tune from Timon of Athens Fantasia upon one note Thy hand, Belinda … When I am laid in earth’ (Dido’s Lament) from Dido and Aeneas Stravinsky Apollon musagète (conclusion) Matthew Truscott guest director Christine Rice mezzo-soprano Scottish Ensemble Leading mezzo-soprano Christine Rice joins Scottish Ensemble in a programme inspired by Greek stories of destiny. Stravinsky’s paean to the god of music and prophecy, the ‘white’ ballet Apollon musagète, provides a frame for an exploration of the archetypal figures of Ariadne, Dido and Cassandra, as they move inexorably towards their fates. Traversing centuries and styles, Christine Rice performs Purcell’s most famous lament, Haydn’s sparkling coloratura and dramatic arias by Berlioz, interspersed with strings-only pieces of beauty and intrigue. Scottish Ensemble, renowned for its dynamic approach and adventurous collaborations, returns to Kings Place with guest director Matthew Truscott.
Eliza Carthy belongs to a musical dynasty stretching back several generations. She reflects on her dialogue with her predecessors, and the desire to pass on their legacy.
Eliza Carthy; Martin Carthy; Norma Waterson; Lal & Mike Waterson
For me, time represents not just the music I play, which is passed down over time, but also the music of my family. Time brings about the people’s curation of traditional music. The music we have is the starting point, not the end point; we are not trying to parody a milkmaid’s life, not pretending we know exactly how a song would have sounded 200 years ago. It’s important for me to express traditional music in a very modern way, in a way that’s not forced, but that comes from my community. We play all sorts of instruments, listen to the radio, so we bring our own soundworld into this. It’s important to allow traditional music to breathe, to live and thrive in our time. Music has always been a part of our family and my life, for as long as I can remember. My father, Martin, comes from seven generations of musicians, as far as we can tell. My mother’s family, the Watersons, were all very musical; her grandmother was a traveller, who loved traditional music and soppy music-hall songs. My earliest memory is my father singing ‘Dolli-ah’ to me when I was a baby, a Newcastle song. He used to put his mouth right next to my ear. The first time I joined my parents on stage I was six years old. Children don’t ask questions, not about the fundamentals, and the fundamentals in my life were always musical.
‘Time brings about the people’s curation of traditional music.’ Music is not the past for me, it’s always been current, and it’s cyclical. My parents have long had a refreshing idea of what you can do with traditional music, they were never prescriptive. My mother’s band, The Watersons, were considered different and new in their time. My father was one of the first to play traditional music with electric guitar. I literally went into the family business, which was applying pioneering techniques to the art form. I don’t think there’s any tension between my individuality and the tradition, though there could be for my audience. I rarely stand still, I keep trying new things, and if someone loves one of my albums with strings, they might not like the one with banjo and bass drum. I record things, I sing them for a certain length of time, and then I move on… I see music as a continuous stream. I feel that in the words of traditional songs our ancestors are speaking to us, telling us their stories. Every generation loses bits of a song, but the essential thing gets kept, the humanity, the message. So if you want to know directly how an ordinary person on the street felt about something 150 years ago, you can get that from a song – that is the voice of the past speaking to you, and that message has been maintained for a reason: because it was important. What makes a song future-proof is its authentic message, the kernel of truth. Traditional songs are like fairy stories that speak directly
of life. They were the way for people to pass on knowledge: drinking is great, murder is wrong, don’t run out on your girlfriend, essential truths. I’m interested in old forms, certain old rhythms that people don’t use any more. Sometimes in the traditional music of other countries I can identify those old rhythms we’ve lost and they’ve kept; I like to hear musical history in action. I’ve no idea how many hours of music are in my head, but sometimes when I’ve had a few weeks off, I’ll get back on stage and do a two-hour show and think, ‘where did all that come from?’ Or I’ll meet an old friend and we get together and all this music just comes out… it must be in the bottom drawer of the bottom drawer in the basement of my brain, possibly buried under something with a freezer on top of it! In the English tradition there’s a certain amount of music that was lost through hugely traumatic events like the First World War which stripped us of many of our tradition carriers. I like to go back into the old collections to pull out things that people have forgotten and that they might love again. I recognise when young singers have learnt them from me, as I’ve left little pieces of myself in the song. When I hear a 16-year-old singing ‘Made on the Shore’ I know they will be doing that when I’m gone, and that makes me very happy, and part of the natural process.
Wed 28 Feb
Fri 2 Mar
Alternate Time Flows Dame Evelyn Glennie & O/Modernt Quartet Hall One 7.30pm Online £39.50 – £19.50 | Savers £9.50
Time-Line Thomas Gould Hall Two 8pm Online £16.50 | Savers £9.50
Michel van der Aa Memo for violin and tape (2003) Nico Muhly A Long Line for violin and tape (2003) Michael Gordon Industry for cello and electronics (1992) Mark Bowden Lines Written a few miles below for violin and tape (2011) Steve Reich Different Trains (1988)
Thomas Gould & Jamie Campbell violin Max Baillie viola Oliver Coates cello Thom Gould explores music for strings, electronics and tape, in which past and present are brought into riveting focus, culminating in Different Trains.
Documentary speech informs the very music of this iconic quartet, in which Reich imagines two trains moving simultaneously: one carrying his child self across the United States between his divorced parents, one bearing children to the death camps of Nazi Germany. Mark Bowden sets up a very different journey in his dance piece, Lines written a few miles below, saturated with sounds of the London Underground, while Van der Aa’s Memo forms an intricate duet between violin and tape recorder. Cellist Oliver Coates will perform Michael Gordon’s extraordinary study in distortion, Industry, of which the composer has written, ‘I had this vision of a 100-foot cello made out of steel suspended from the sky…’
Áskell Másson Frum Purcell Chacony in G minor, Z730 Janáček String Quartet No. 1 Kreutzer Sonata Beethoven Grosse Fuge Osvaldo Golijov Tenebrae Tenney Having never written a note for percussion Albert Schnelzer Apollonian Dances (new arr. for string quartet and percussion) Evelyn Glennie percussion O/Modernt Quartet Dame Evelyn Glennie joins Hugo Ticciati’s O/Modernt Quartet for a programme that explodes, condenses and stretches time. While Janáček compresses an entire opera into his coruscating Kreutzer Sonata quartet, and Áskell Másson’s high-velocity Frum hurls a stream of rhythmic events at the listener, Golijov’s Tenebrae opens up twilit, contemplative space. While in his
Grosse Fuge Beethoven tussles mightily with complex harmony and crossrhythms, James Tenney’s Having never written a note for percussion explores just a single pitch. The evening ends with a new arrangement of Albert Schnelzer’s dynamic Apollonian Dances for percussion and string quartet, specially commissioned for Time Unwrapped.
note has its own resonance, its own vibration, its own time’ Dame Evelyn Glennie
Fri 16 – Sun 18 Mar
Sat 24 Mar
Sun 8 Apr
Folk weekend Time & Tradition
Storyteller Hugh Lupton tells stories and ballads of Beltane and Samhain, May-eve and Halloween… the festivals that come at the portals of summer and winter, both times when the borders between worlds are porous, giving life to countless legends.
Martin and Eliza Carthy
Fri 16 Mar
Time & Tradition Martin & Eliza Carthy + Chris Wood Kings Place 8pm On sale soon
Martin Carthy, one of folk music’s great innovators, and his twice-Mercury nominated daughter Eliza, perform songs from their duo album, The Elephant. Chris Wood, an uncompromising writer whose music reveals his love for the unofficial history of the English-speaking people. With wry, gentle intelligence, he weaves the tradition with his own contemporary parables, citing his major influence as ‘Anon’.
Ben Harlan clarinet Max Baillie violin Matthew Sharp cello Jon Banks accordion Iris Pissaride santouri
London Sinfonietta: Space-Time Radical Ideas in Music and Science Turning Points Hall One Online £19.50 | Savers £9.50
Webern Drei Lieder (1904) Debussy Prélude Schoenberg String Quartet No. 2, Op. 10 – fourth movement, ‘Entrückung’ (‘Rapture’) Berg Four pieces for clarinet and piano, Op. 5 Stravinsky Three pieces for string quartet Cowell The Banshee; The Aeolian Harp Schoenberg Chamber Symphony (arr. Webern) Elizabeth Atherton soprano Rolf Hind piano Professor Malcolm Longair physicist Tom Service music journalist London Sinfonietta
Following their acclaimed Brahms and Schubert Quintet projects, Viennese tavern band ZRI present a live re-scoring of their favourite scenes from Charlie Chaplin’s early classics. Taking the listener to the exciting melting-pot of early 20th-century New York where jazz, klezmer, and classical music intertwined in film soundtracks, ZRI match the wit, virtuosity and sheer brilliance of Chaplin in his creative prime. Part concert, part cinema, this event conjures a world of play for the whole family.
The early part of the 20th century was epitomised by drastic reinvention and new ways of thinking. Albert Einstein’s ‘thought experiments’ led to a completely new model of the space-time continuum – the implications of which are still being understood and proved today. Almost in parallel, composers such as Claude Debussy, Arnold Schoenberg, Igor Stravinsky and Henry Cowell took music in radically different directions that blew apart the relationship between harmony and progressive, linear time. Explore both fascinating stories in an evening of live music, experiments and discussion, with Professor Malcolm Longair and music critic Tom Service. ZRI
See overleaf for more insight into time and physics
Chris Wood offers a unique bird’s-eye filter on modern society, imbued with a keen sense of the tradition-bearing ‘anon’ sources from the folk music canon.
Hall Two 4pm Online £16.50 | Savers £9.50
A weekend exploring the concept of Time through traditional and contemporary folk music: from hard times to the turning of the year through seasonal customs via music passed down through the ages. Father and daughter, Martin and Eliza Carthy, headline a Generations Concert: a living, breathing example of how traditional music filters through bloodlines, in this case via the repertoire and spirit of the influential East Coast family of musicians.
Chaplin in the Jazz Age ZRI
From 1900 to 1930, Einstein’s theories of relativity and those of quanta and quantum mechanics transformed the understanding of the nature of space and time. In the same period, music underwent a seismic revolution... We look at two view points
Professor Malcolm Longair, astrophysicist & cosmologist
A NEW ORDER
In answer to the question, ‘what is time?’ I find two statements by eminent relativists useful. First, David Finkelstein’s: ‘Time is just one goddamn thing after another’. This is much deeper than it looks since it means that there is a time-ordering of events, an arrow of time. There are a number of these – the thermo-dynamic arrow of time, the electromagnetic arrow of time and the cosmological arrow of time. Hermann Bondi’s definition was: ‘Time is what I measure on my watch…’. This is also much deeper than it seems since it states that all we need is something which keeps a regular beat or pulse – a clockwork watch, the frequency of an atomic oscillator, or the motion of the Earth about the Sun. What comes as a surprise is that the rate at which clocks are observed to run depends upon our motion and the gravitational field in which they are located. The speed of light is not additive in the same way as in classical Newtonian physics. If you are on a moving walkway and you run along it,
you add the speeds together to find your speed over the ground. Light does not behave like that. The speed of light is absolute. We should not think of space and time as being separate entities. According to Einstein’s special theory of relativity, we live in four-dimensional space-time. Getting from one point to another in four-dimensional spacetime depends upon the path you take through it. This leads to the ‘Twin Paradox’, according to which my twin, who goes on a return journey to the Moon, comes back younger than me – a phenomenon confirmed by many experiments. We also needed to reformulate the laws of motion in fourdimensional space-time and this lead directly to E = mc2. All the laws of physics build special relativity into their theoretical foundations, with the exception of gravity. It took Einstein eight years to understand how to incorporate the concepts of four-dimensional spacetime into his general theory of relativity. Now, the rate at which clocks are observed to run depends upon where
they are located in a gravitational field. The satellite-based GPS system, which tells you precisely where you are on your mobile phone, includes general relativistic corrections – without them, you could be out by 200 km. General relativity also predicts the existence of black holes, singularities in space-time. The circumstantial astronomical evidence for these objects in the nuclei of galaxies was compelling but finally, in 2015, came the discovery of the gravitational radiation pulse, or ‘chirp’, from the coalescence of two 30 solar mass black holes. These ripples in spacetime were precisely predicted by Einstein a century earlier. But we need to be careful. Consider matter falling radially into a black hole. There are now three times which need to be distinguished. Observer A far away from the black hole keeps a track of time – this acts as a reference coordinate time. A stationary observer B at some point along the trajectory of the infalling matter is observed by A to measure a different time since observer B is located in a stronger gravitational
It was Einstein who recognised we live in fourdimensional space-time. field. The clock is observed to run slower than A’s clock. At a particular radius known as the Schwarzschild radius close to the black hole, the observed time is slowed down so much that it appears to come to a stop - equivalently, light from that radius is red-shifted to infinite wavelength. But, what about the unfortunate observer C who is travelling with the material falling into the black hole? He/she measures a third time and collapses into the space-time singularity in the black hole in a finite time. New physics will be required to cope with time-scales on which spacetime itself needs to be quantised. This is expected to occur on the Planck time-scale which is about 10-43 seconds. Watch this space-time...
Tom Service, music broadcaster & author As Malcolm writes, scientists have only recently been able to detect the gravitational waves that are the infinitesimal echo of the big bang, and the very beginning of time in our universe – or at least this phase of our universe, or whichever theory of cosmic teleology you happen to subscribe to. But in music, we’ve been able to hear the effects of changing musical gravity on time for centuries. And the music you’ll hear in the London Sinfonietta’s concert in March is a cross-section through arguably the most profoundly destabilising gravitational wave – or rather, anti-gravitational wave – that shook musical history in the decades around the turn of the 20th century. In their different ways, composers across the world – Debussy, Schoenberg, Berg, Webern, Stravinsky, Ives and Cowell, among others – unmoored music from the conventions of musical gravity and temporal flow, creating an Einsteinian vision of musical relativity as opposed to the Newtonian rationality of music’s process in earlier centuries, where resolution was the imperative. And
however diverse their innovations were, disrupting and renewing every aspect of musical discourse – the harmonic atomisation and suspension, the ‘air from another planet’, that Schoenberg’s Second Quartet breathes, or the transformation of instrumental colour into structure in Debussy’s Preludes, or the warped mechanical repetitions of the rhythms in Stravinsky’s Three Pieces – they share the same essential effect, which is a transformation of how music works in time. In music like Webern’s songs, time feels as if it moves in circles and cycles, or it creates the sense that a moment has been held into eternity: like taking a breath, and never exhaling. In this strange and wondrous interzone where clock-time is stopped, or made to spin faster, or in which different speeds are layered on top of one another, composers can make limitlessly imaginative experiences. Our programme will reveal some of these miraculous musical timemachines, alongside demonstrations of the scientific discoveries that were emerging at exactly the same time.
Fri 13 Apr
Fri 13 Apr
The Late Concertos
Douglas Adams Bach The Time Traveller
Bach Weekend Hall One 7.30pm Online £34.50 – £14.50* | Savers £9.50 *free voucher for a drink with the artists between the concerts, if you purchase tickets for both Friday-night concerts (excludes Savers)
Director Martin Feinstein
introduces his Bach Weekend, Time Changes
‘The idea for Time Changes came from the Brandenburg Concertos. I’ve always been fascinated by Bach’s use of shifted bar-lines in the these concertos, most famously in the opening of the Third, which is notated in two but in fact written across the bar-lines in triple time. The slow movements of the Fourth and Fifth Concertos also deliberately obscure the beginning of the bars, constantly shifting them giving the audience a wonderfully complex listening experience. The Brandenburgs are themselves a kind of time journey, with some concertos using 17th-century instruments, like recorders and gambas, and others reinventing orchestration altogether. From here the theme grew into programmes which extend the range of the Bach Weekend into exciting new areas. ‘These include a 50-year celebration of the iconic Switched On Bach album performed on Moog synthesisers, and a dramatic Douglas Adams late night event recreating the alternative reality of Dirk Gently’s Holistic Detective Agency, a universe where only time travel can rescue Bach’s masterpieces them oblivion. The idea of Time has allowed us to explore not only the transformations in Bach’s own works over time but also his attitude to change itself. In the Late Concertos concert we perform his transformations of earlier works; in Three Epochs we show how his style evolved, while Two Centuries of Bach explores the full riches of the extraordinary Bach dynasty. We finish with Bach’s greatest obsession: the moment of death and transfiguration, a programme which will include one of Bach’s greatest Cantatas, the ‘Actus Tragicus’, where ‘God’s Time is the Best Time of All’.’
JS Bach Triple Concerto in A minor for flute, violin & harpsichord, BWV 1044 Concerto in D for three violins (reconstructed from BWV 1064) Concerto in F for harpsichord & two recorders, BWV 1057 Concerto in D minor for violin (reconstructed from BWV 1052) Catherine Manson violin Miki Takahashi violin Sarah Moffatt violin Robin Bigwood harpsichord Martin Feinstein flute/recorder/director The Feinstein Ensemble For the last 27 years of his life, Bach was employed by Leipzig’s principal churches, yet he also found time to direct at the weekly Collegium musicum concerts iat Zimmermann’s coffee house. These gave Bach the opportunity to write new concertos and reinvent many earlier masterpieces. This programme includes three triple concertos: the monumental Concerto in A minor for harpsichord, flute, violin and strings, which began as two separate organ works; the Concerto in F for harpsichord, two recorders and strings, Bach’s fascinating transformation of Brandenburg No. 4 and the spectacular Triple Violin Concerto in D.
Bach Weekend Hall One 10pm Online £16.50* | Savers £9.50 *free voucher for a drink with the artists between the concerts, if you purchase tickets for both Fridaynight concerts (excludes Savers)
Geoffrey McGivern narrator members of The Feinstein Ensemble The great writer and humanist Douglas Adams spoke often of his obsession with Bach. Indeed in his novel Dirk Gently’s Holistic Detective Agency he explains the actual source of Bach’s masterpieces and how only time travel rescued them from oblivion. Geoffrey McGivern, the voice of Ford Prefect in the legendary radio series The Hitchhiker’s Guide to the Galaxy, reads from Douglas Adams’s books and introduces performances of some of Adams’s favourite pieces.
‘I’m convinced that Bach is the greatest genius who ever walked among us, and the Brandenburgs are what he wrote when he was happy.’ Douglas Adams
Sat 14 Apr Clare Wilkinson
Sat 14 Apr
Sat 14 Apr
The Brandenburg Concertos Study Sessions
Homage to Switched-On Bach Bach performed live on multiple synthesisers
Bach Weekend St Pancras Room 4pm Free to those attending the 6pm concert. To book your seat, please call the Box Office.
Bach WeekenD Hall One 9.15pm Online £19.50* | Savers £9.50 *free voucher for a drink with the artists between the concerts, if you purchase tickets for both Saturdaynight concerts (excludes Savers)
Two Centuries of Bach
Art of Moog
Bach Weekend Hall One 2pm Online £34.50 – £14.50* | Savers £9.50 *includes tea/coffee/sherry during interval (excludes Savers)
Robin Bigwood Moog synthesiser/director Steven Devine synthesiser Martin Perkins synthesiser
JC Bach ‘Ach, dass ich Wassers gnug hätte’ CPE Bach Flute Concerto in A Wilhelm Friedemann Bach Adagio and Fugue in D minor for flute, strings and continuo JS Bach ‘Widerstehe doch der Sünde’, BWV 54 Clare Wilkinson mezzo-soprano Martin Feinstein flute/director The Feinstein Ensemble From Johann Christoph (born 1642) to Wilhelm Friedrich Ernst (who died in 1845), the Bach family was the greatest of all musical dynasties. Johann Christoph had a reputation equalled only by that of JS Bach himself, who revered him enormously. His masterpiece ‘Ach, dass ich Wassers gnug hätte’, with its dark scoring, sits as an equal alongside JS Bach’s own great alto cantata ‘Widerstehe doch der Sünde’. Mezzo-soprano Clare Wilkinson joins The Feinstein Ensemble to give her acclaimed readings of these two wonderful works. Also on the programme are groundbreaking and sublime orchestral pieces by JS Bach’s most talented sons, Carl Philipp Emanuel and Wilhelm Friedemann.
The Feinstein Ensemble
The Brandenburg Concertos Bach Weekend Hall One 6pm Online £59.50 – £29.50* | Savers £9.50 *free voucher for a drink with the artists between the concerts, if you purchase tickets for both Saturday-night concerts (excludes Savers)
JS Bach Brandenburg Concerto No. 1 in F Brandenburg Concerto No. 3 in G Brandenburg Concerto No. 4 in G Brandenburg Concerto No. 5 in D Brandenburg Concerto No. 6 in B flat Brandenburg Concerto No. 2 in F Martin Feinstein solo flute/recorder/director Katharina Spreckelsen oboe David Blackadder trumpet Catherine Manson violin/piccolo violin Robin Bigwood harpsichord The six Brandenburg Concertos represent the high point of Bach’s secular writing. Collected as a set in 1721, they actually resonate backwards and forwards throughout Bach’s entire timeline. Several of the concertos are refined versions of earlier works and they were also used to form the basis for many sinfonias and choruses in his later cantatas. The Brandenburgs look back to the instrumentations of an earlier age, with the use of recorders and gambas in Nos. 4 and 6, but also break completely new ground with extraordinary original configurations and a revolutionary concept: the virtuoso keyboard concerto.
In 1968, Wendy Carlos introduced an entirely new concept to the world: Bach performed on an analogue synthesiser. The complexity of the sound, and the inherent coolness of the instrument, brought an entirely new audience to the music of Bach. At the same time iconoclastic and devotional, Switched-On Bach changed the way Bach was seen forever. For the first time here in this performance, his music can be heard played completely live on multiple Moog synthesisers by a group of keyboard virtuosos.
Sun 15 Apr
Sun 15 Apr
Three Epochs of Bach
Bach Weekend Hall One 11.30am Online £19.50* | Savers £9.50 *includes tea/coffee/sherry during interval (excludes Savers)
JS Bach Fugue in G minor for violin and continuo, BWV 1026 (1714) Suite No. 3 in C for solo cello, BWV 1009 (1720) Sonata in E minor for flute and continuo, BWV 1034 (1725) Prelude and Fugue in C minor, BWV 871 (1738) Trio Sonata in E minor, after BWV 527 in D minor (1728) Martin Feinstein flute Catherine Manson violin Christopher Suckling cello Robin Bigwood harpsichord The Feinstein Ensemble
Bach’s time as court composer in Cöthen, free from any devotional duties, was his golden age of instrumental music. However many chamber works were written much earlier and others composed during his later Leipzig period, to be performed at the famous Collegium Musicum concerts. Here The Feinstein Ensemble introduce and perform three decades of instrumental masterpieces.
The Italian Concerto Bach Weekend Hall Two 4pm Online £19.50* | Savers £9.50 *includes tea/coffee/sherry during interval (excludes Savers)
JS Bach Concerto in D, BWV 972 (after Vivaldi); Aria variata alla maniera italiana, BWV 989 Concerto in G, BWV 973 & Concerto in G minor, BWV 975 (after Vivaldi) Italian Concerto BWV 971
Steven Devine harpsichord Bach’s arrangements of Vivaldi were not simply a tribute to the Italian master, they were his way of absorbing the Italian style. As he began to re-imagine the concerto as a form, that style became more important in his works and, with the publication of his own ‘Concerto in the Italian Manner’ in 1735, the assimilation was complete. Virtuoso Steven Devine performs this glittering work alongside Bach’s wonderful Vivaldi arrangements.
Wed 18 Apr
Nicholas Hurndall Smith
Transfiguration London Chamber Music SundayS Bach Weekend Hall One 6.30pm Online £39.50 – £19.50 | Savers £9.50 LCMS Friends discount applies
JS Bach Cantata, BWV 125: ‘Mit Fried und Freud ich fahr dahin’ Cantata, BWV 115 ‘Mache dich, mein Geist, bereit’ Sinfonia in B minor, from Easter Oratorio, BWV 249 Cantata, BWV 106 (Actus tragicus) ‘Gottes Zeit ist die allerbeste Zeit’ Faye Newton soprano Clare Wilkinson mezzo-soprano Nicholas Hurndall Smith tenor Ben Davies bass Martin Feinstein director The Feinstein Ensemble London Bach Singers Bach’s instrumentations evolved over the decades: modified by his own voracious search for new colours as well as his skilful assimilation of the latest advances in instrument building. The three great cantatas in tonight’s programme demonstrate this metamorphosis perfectly. ‘Actus tragicus’, the earliest, and many would say the greatest of all his funeral cantatas, uses a beautiful 17th-century scoring which includes recorders and violas da gamba, whereas the later Leipzig cantatas ‘Mache dich, mein Geist, bereit’ and ‘Mit Fried und Freud ich fahr dahin’ favour the 18thcentury obbligato instruments: flute, oboe and cello.
In Search of Lost Time Chloë Hanslip & Danny Driver Hall One 7.30pm Online £39.50 –£16.50 | Savers £9.50
Beethoven Sonata in G major for violin & piano, Op. 96 Debussy Sonata for violin & piano Hahn Nocturne in E flat for violin & piano Fauré Barcarolle No. 4 in A flat, Op. 44 Barcarolle No. 5 in F sharp minor, Op. 66 Saint-Saëns Sonata No.1 in D minor for violin & piano, Op. 75 Chloë Hanslip violin Danny Driver piano For Marcel Proust, music could be as intensely evocative as the taste of a madeleine, unleashing a torrent of memory and emotion. Here, Chloë Hanslip and Danny Driver recreate a Proustian salon, featuring Beethoven’s late music, which he so admired, and the inspirational work of contemporaries Gabriel Fauré, Claude Debussy and also Reynaldo Hahn, with whom he had a turbulent friendship. Finally, they will play Saint-Saëns’s Sonata No. 1, thought to contain the model for Vinteuil’s ‘little phrase’ in Proust’s À la recherche du temps perdu, forever associated with Swann’s love for Odette: ‘And before Swann had the time to understand, and to tell himself, “It’s the little phrase from Vinteuil’s sonata, don’t listen!”, all his memories of the time when Odette loved him so, which he had managed to keep hidden in the depths of his being, tricked by the sudden beam from the days of love that they believed had returned, awoke, and in a flurry of wing-beats they rose to sing to him … the forgotten choruses of happiness.’
FRI 20 – SUN 22 APr
Wed 25 Apr
Slow For John Cage Hall One 8pm Online £34.50 – £16.50 Savers £9.50
Feldman For John Cage Darragh Morgan violin John Tilbury piano Julia Bardsley visuals Sonica Brain Pool
‘I tried to bring into my music just very few essential things that I need.’ Morton Feldman
Kings Place On sale soon
Sonica returns to Kings Place with a weekend of genre-defying live performance and installations for Time Unwrapped. Presenting the best emerging British and established international talent in visual sonic art, Sonica highlights will include: Leading audio-visual artist Robin Fox (AU) brings new work, Single Origin, the third in a groundbreaking, influential series for laser and sound exploring the possibilities of mechanically induced synaesthesia. Visual artist Heather Lander (UK) opens a discourse about the physicality of the natural world and our virtual horizons, using projection and sound to create a mesmerising moving-image installation, Nearer Future. Visual artist Elizabeth Saint-Jalmes and lighting designer Cyril Leclerc (FR), present Slow Pixel, an immersive sensorial experiment with live and recorded audio, video projection and a sonic surprise like no other. Drawing on a diverse range of influences, from neuroscience to psychedelia, visual artist Robbie Thomson (UK), uses surround sound, intense lighting, kinetic sculpture, 3D animation and real-time video to take you to an unexpected universe with immersive performance installation, Infinite Lives.
In this mesmerising late masterpiece for violin and piano, Morton Feldman pays tribute to his friend John Cage. Darragh Morgan and John Tilbury, renowned for their performances of Feldman, present the work with a newly commissioned video by Julia Bardsley.
Darragh Morgan writes: ‘I was first introduced to the music of Morton Feldman nearly 25 years ago by my then musical mentor, violinist Paul Zukofsky, who had premiered For John Cage. This close connection to Feldman’s art form had a profound effect on me. I learnt so much from Zukofsky about Feldman’s use of mean-tone intonation and the obvious influence of this on the expressivity of his string writing, but it was only when I met pianist John Tilbury and had conversations with composers who knew Feldman personally – Chris Newman and Howard Skempton – that I felt I was really beginning to understand his musical personality. ‘I was already experimenting with using a baroque bow in performances of certain music by Cage and Feldman. The ethereal tone these more curved and lighter/shorter bows can produce seemed the most natural tool for conveying the desired articulation, and also Feldman’s constant wish and marking in his late scores that every gesture should dissipate naturally. ‘Having played For John Cage with John Tilbury internationally from the Austrian Tyrol to St Paul’s Hall in Huddersfield, and on record, I find this music offers the most special experience in the world to me; each new performance is a unique musical journey.’
We expect both spontaneity and super-human levels of preparation from musicians. Violinist Hugo Ticciati explores the elusive ‘now’ of performance
As I walk out onto the stage, violin in hand, an intoxicating energy surges through every fibre of my body – a cocktail of excitement, nerves, openness and vulnerability… I become acutely aware of my physical body, my breathing, an enveloping aura of sensibility. Participating in the ebb and flow of a melody, both I and my listeners should experience a moment in time that distils past and future into the singularity of the sounding present. Creating the conditions in which everyone can lose themselves in this ‘now’ is the supreme challenge facing all performers. In a multitude of intertwining, overlapping and repeating processes, I spend hours isolating the individual elements of a piece. Then, from single notes, to phrases, to movements, to whole works, I work to understand countless relationships, developing an awareness of how each particular moment in a piece is crucially connected to every other. It’s a play of consequences – a matter of conceiving of the work as a whole, with all its parts related. But there are two provisos. A piece of music is a complex living entity, so our understanding will always remain provisional. Allow it to harden, and the piece will die. Second, having internalised the consequential nature of particular parts of a piece, we must then unlearn what we know. For me, this is one of the most exhilarating paradoxes of performance. After all the hours of practice, study and analysis, I’m required to lose myself in the instant until all that remains is the flow of the music. There’ s a very a similar process at work for the listener. Consider for a moment the distinction drawn by the French philosopher Jean-Luc Nancy between ‘listening’ and ‘hearing’. For Nancy, ‘listening’ is the primary (or is that primordial?) experience; ‘hearing’ is its conceptualised
‘The paradox of performance is that we must strive to unlearn what we know, to lose ourselves, to go with the flow’
offspring. In order to make the primary act of listening that takes place in the ‘perceiving senses’ intelligible to oneself and communicable to others, one must extract meaning from those fundamental auditory sensations. One must understand them by ‘hearing’ them, by turning the flux of sensations into perceived meaning. Vital though they may be, these are secondary processes, however. Quality of musical experience resides in the flow of sound. Just as I need to unlearn everything in order to play with spontaneity and a sense of abandon, so the audience must unlearn the conceptual overlay in order simply to ‘listen’. When we talk about the music we practise, analyse and ‘hear’, we tend to rely so heavily on spatial metaphors (ups and downs, vertical and horizontal relationships, Schenker’s Ursatz, Gestalt theories, etc.) that the actual ‘flow’ of the music – its temporal condition – is easily sidelined. Spatial approaches may be crucial to
our understanding, but they also tend to divorce us from the immediate flow of music’s present. Again we’re faced with the paradox that we must ‘unknow’ what we know. We must let go of spatialised, analytical conceptions, and trust ourselves to engage spontaneously, in real time. As Stravinsky noted, ‘Music is the sole domain in which man realises the present.’ It’s the greatest gift music can bestow, and in my mind it’s the key to experiencing what Bergson so aptly called ‘duration’, where past, present and future are bound together in an act of creative abandon – a continuous elaboration of the absolutely new. Hugo Ticciati is artist-in-residence for Time Unwrapped
Sun 29 Apr
Sat 5 May
Fri 11 May Miyoko Shida
Hall One 8pm Online £39.50 – £19.50 | Savers £9.50
Early and Late Chiaroscuro Quartet
London Chamber Music Sundays Hall One 6.30pm Online £39.50 – £16.50 | Savers £9.50 LCMS Friends discount applies
JS Bach The Art of Fugue (selections) Beethoven String Quartet No. 4 in C minor, Op. 18 No. 4 Schubert String Quartet No. 13 in A minor Rosamunde Chiaroscuro Quartet
For Beethoven, Bach was ‘the immortal God of harmony’, whose music had an indelible influence on his own. The celebrated Chiaroscuro Quartet, led by Alina Ibragimova, open with Bach’s enigmatic trove of four-part writing before leaping into Beethoven’s vivacious early Op. 18 No. 4 Quartet, with its fugal textures and unruly asymmetry. Franz Schubert, provoked by Beethoven’s example, developed a new approach in his late works, integrating and transforming ideas from stage or song into quartets of immense dramatic power. In the Rosamunde, which quotes from the song ’Beautiful world, where are you?’, past conflict and present peace provide the spur for a sublimated musical narrative.
Anna Meredith Nautilus Michael Gordon Yo Shakespeare Paul Whitty nature is a language – can’t you read? David Lang Slow Movement Louis Andriessen De snelheid (‘Velocity’) Icebreaker Icebreaker present a sequence of high-octane Minimalist works on the theme of speed. In his 1983 classic, De snelheid, Louis Andriessen demonstrated the acoustic phenomenon of an ever-accelerating woodblock being subsumed into the stubbornly-held slower tempo of another instrumental group. Two works by Bang-on-a-Can composers David Lang and Michael Gordon provide a prelude, Gordon’s witty, electric-guitar-driven Yo Shakespeare and David Lang’s ‘wall of sound’ Slow Movement, once described as ‘perched somewhere between Jimi Hendrix and Iannis Xenakis’. Anna Meredith’s propulsive ‘Nautilus’ from her recent album Varmints and Whitty’s nature is a language… offer contemporary notes. This performance will be reimagined by Recomposed in the Foyer following the concert. Recomposed (Iain Chambers and Pascal Wyse) take audio recordings of live performance to generate an entirely new sonic experience, which audiences can enjoy directly after the source performance.
Time Stands Still Hugo Ticciati, Víkingur Ólafsson and Miyoko Shida Hall One 7.30pm Online £39.50 – £19.50 | Savers £9.50
Dowland Time stands still Satie Gymnopédie No. 1 Arvo Pärt Spiegel im Spiegel Philip Glass Etudes (selections) Cage 4’ 33” Beethoven Piano Sonata No. 32 in C minor, Op. 111 Hugo Ticciati violin Víkingur Ólafsson piano with Miyoko Shida balance act Artist-in-residence Hugo Ticciati and Icelandic pianist Víkingur Ólafsson are joined by Japanese performer Miyoko Shida for an evening of gravity-defying magic. During Pärt’s mesmerising Spiegel im Spiegel, Shida will construct a giant, precariously quivering structure – the renowned ‘Sanddorn Balance’ act. The evening opens with works expressing ideas of suspension and silence, themes picked up by Ticciati in his improvisation and by Ólafsson in the beguiling piano Etudes of Philip Glass. After Cage’s ‘uncomposed’ 4’ 33”, Ólafsson presents Beethoven’s mighty Sonata No. 32, Op. 111, whose two movements juxtapose intense contrapuntal event with glacial harmonic stasis. In a series of variations, bar-lines eventually dissolve and all sense of metric time is lost in a shimmer of trills.
sat 19, sun 20 May Aurora Orchestra
Sun 20 May
Sat 2 Jun
Four Seasons Lawrence Power and Collegium
Songlines Encounters Raga Seasons
Hall One 7.30pm Online £39.50 – £16.50 | Savers £9.50
Aurora Orchestra: Long, Long Ago – Beethoven and the Dinosaurs A Jurassic branch of Far, Far Away...
Piazzolla The Four Seasons of Buenos Aires (arr. Desyatnikov) Brahms ‘Summer Evening’, Op. 85 No. 1 ‘In Autumn’, Op. 104 No. 5 Schubert ‘Frühlingstraum’ & ‘Der Leiermann’ from Winterreise, D911 Milhaud La création du monde Copland Appalachian Spring Simon Crawford-Phillips piano Lawrence Power violin, Collegium
Hall Two 10.30am, 11.30am, 12.30am (19 May); 10am, 11am, 12pm (20 May) Online £6.50 Children, £8.50 Adults | £21.60 Family (no more than 2 adults) available via the Box Office
Aurora Orchestra invites you to travel back 200 million years to the time of the dinosaurs. Dance with the diplodocus, soar with the pterodactyl and roar like a tyrannosaurus.
North India: Soumik Datta, Roopa Panesar & Shahbaz Hussain Hall One 5pm Online £24.50 – £16.50 | Savers £9.50 Lawrence Power
Lawrence Power is soloist-director of Collegium, an exciting new group formed from Europe’s finest young musicians. For their Kings Place debut they traverse all four seasons in a journey that takes us from Schubert to Jazz-Age America. Piazzolla’s tango-charged Four Seasons of Buenos Aires is laced with arrangements of haunting Romantic Lieder. Like Piazzolla, Copland discovered his unique ‘national’ voice when studying with Nadia Boulanger in Paris, a voice expressed with such exhilarating freshness in the ballet Appalachian Spring. By contrast, it was Darius Milhaud’s encounter with American jazz that inspired his uproarious Création du monde, here performed in its piano quintet version.
This special concert will take us through ragas for different times of the day, from morning until night, as well as different time-cycles or taals. The young stars are Soumik Datta on sarod and Roopa Panesar on sitar, these being the main plucked instruments of Hindustani music, and Shahbaz Hussain on tabla. As it’s June, the time of the monsoon, the concert will also include a piece in the stormy and torrential raga Malhar.
South India: Jyotsna Srikanth, percussionist & the Ligeti Quartet Hall One 8pm Online £24.50 – £16.50 Savers £9.50
Featuring new chamber arrangements of Beethoven’s music and an original story from Aurora writer-inresidence Kate Wakeling, these 40-minute immersive performances in the round for children ages 0–4 and their families will delight and surprise.
As part of Songlines Encounters Festival, these two concerts look at the concept of time in Indian music: times of the day, times of the year, times in history and different rhythmical cycles as well. This is a rare chance to unravel the many ways in which time exerts its power in the subcontinent’s classical music.
Violinist Jyotsna Srikanth explores time in South Indian music. The first half of this concert, with mridangam and ghatam percussion, comprises a whirlwind historical sketch of great composers from the 15th to the 20th century in several different rhythmic cycles. In the second half Srikanth presents the UK premiere of her own Raga Seasons violin concerto with the Ligeti Quartet: six movements depicting the six seasons of the Hindu calendar.
Sat 16 Jun
Fri 15 Jun
Book of Hours: Salve Regina The Sixteen
Hall One 8pm Online £19.50 | Savers £9.50
Melanie Pappenheim voice Kate Halsall piano/ keyboards Nic Pendlebury viola Stephen Hiscock percussion Ruth Goller bass
In Place is an evocative set of songs performed by vocalist Melanie Pappenheim and ensemble with texts from contemporary writers whose work explores a sense of time and place. Working in collaboration with Robert Macfarlane, Selina Nwulu, Paul Farley, Nick Papadimitriou, Richard Skelton, Autumn Richardson and Jackie Morris, composer Colin Riley has fashioned a unique soundscape of sung melodies, lush orchestrations, field recordings and spoken conversation. Regional dialects and lost words are woven into the fabric of this resonant new piece.
Sat 16 Jun
Colin Riley’s new work is commissioned by Sound Festival Scotland and was made possible with funding through Beyond Borders from PRS for Music Foundation and the Arts Council of England.
Hall One 7pm Online £49.50 – £19.50 | Savers £9.50
The monks of Downside Abbey
Book of Hours A Benedictine Day with the monks of Downside Abbey Kings Place from 2pm 10% discount if you book for Plainchant workshop, Pre-concert ialk and The Sixteen evening concert
The monks of Downside Abbey Father Anselm Brumwell music director For the first time in their 250-year history, the monks of Downside Abbey in Somerset will sing their divine offices away from the abbey, at Kings Place and a nearby church. Beginning the day with a Mass and Lauds in St James’s, Spanish Place, Marylebone, they will arrive in time to sing Midday Office, Vespers and Compline in the public spaces of Kings Place.
Victoria Salve Regina Sheppard In manus tuas Domine II Byrd Oculi omnium in te sperant Domine Palestrina Ecce nunc benedicite Dominum Lassus Lauda Jerusalem Dominum Byrd O lux beata Trinitas (Hymn) Sheppard Libera nos I and II (Matins) plainsong Salve Regina Victoria Salve Regina a8 Sheppard In manus tuas Domine I Byrd Miserere mei Sheppard In pace Lassus Lauda anima mea Dominum Sheppard In manus tuas Domine III Anerio Magnificat a8 The Sixteen Harry Christophers director Harry Christophers
There will also be an exhibition of important artefacts from the abbey related to its musical heritage, a workshop on plainsong and a pre-concert event exploring how the influential tradition has fed into and enriched the European sacred music canon. 2pm Exhibition, Limehouse Room 2.15pm Midday Office, Box Office Stage 3pm Plainchant workshop, St Pancras Room 5.15pm Pre-concert talk, St Pancras Room 6pm Vespers, Gallery Level 7pm The Sixteen, Hall One 8pm Compline, Gallery Level
Book of Hours Plainchant workshop St Pancras Room 3pm Online £16.50 | Savers £9.50 (multi-buy offer, see above)
This practical workshop offers a rare opportunity to learn how to read the notation and perform the psalms in free rhythm with Downside Abbey’s own choir master. All singers welcome.
Book of Hours Pre-concert talk 5.15pm St Pancras Room Online £6.50 (multi-buy offer, see above)
With Harry Christophers, director of The Sixteen, and Father Anselm Brumwell of Downside Abbey.
In this Renaissance sequence, The Sixteen provide a reflection on the services of the Divine Office sung by the monks of Downside during the day. Through works by Spanish, Italian, Flemish and English composers, they reveal how the ancient monastic tone texts formed the basis of magnificent polyphonic creations, from the spacious elaborations of John Sheppard to the sensuous settings of Victoria, the groundbreaking writing of Palestrina to the Catholic Byrd’s intricate, contrapuntal style, culminating in Anerio’s eight-part Magnificat. Pre-concert Vespers at 6pm, interval Compline at 8pm on Level -1 10% discount if you book for Vocal Workshop, Pre-concert Talk and The Sixteen
Sun 1 Jul
Wed 19 Sep
Fri 21 Sep
Mozart Memorised Aurora Orchestra with Cédric Tiberghien
Mozart’s piano Hall One 7pm Online Price: £49.50 – £24.50 Premium Tickets £69.50 | Savers £9.50
Stravinsky Dumbarton Oaks Mozart Piano Concerto 13 Boulez Mémoriale Mozart Symphony No. 40 (from memory) Aurora Orchestra Nicholas Collon conductor Cédric Tiberghien piano Jane Mitchell flute
Macro/Micro 1 Carducci Quartet
Looping Time Hugo Ticciati and O/Modernt
Hall One 7.30pm Online £39.50 – £19.50 | Savers £9.50 (multi-buy offer, see p 43)
Hall One 7.30pm Online £39.50 – £19.50 | Savers £9.50
Bartók String Quartet No. 3, Sz. 85 György Kurtág Six moments musicaux Bartók String Quartet No. 1, Sz. 40 Matthew Denton violin Michelle Fleming violin Eoin Schmidt-Martin viola Emma Denton cello
Aurora Orchestra is the only orchestra in the world to perform whole symphonies from memory, and in this concert its players will perform Mozart’s Symphony No. 40 without sheet music. Cedric Tiberghien is soloist in Piano Concerto No.13, next in line in Aurora’s five-year survey of Mozart’s complete piano concertos. Continuing the theme of memory and recall, Stravinsky’s Dumbarton Oaks pays homage to Bach’s Brandenburg Concertos, while Boulez’s Mémoriale was written in tribute to Stravinsky himself. Of Aurora’s By Heart projects, conductor Nicholas Collon says: ‘Memorising deepens and enriches our relationship with the music and takes communication to a new level. Whilst it feels naked at first without a stand and music to hide behind, it intensifies the levels of trust between players. It also communicates in a new way with the audience: we are all – players and audience alike – unshackled from the physical and metaphorical confines of the printed notes.’
Bartók’s set of six quartets remain one of the 20th century’s indelible masterworks, and form the backbone of the composer’s output. In these visceral, high-voltage yet mysterious pieces Bartók broke new ground, compressing, expanding and transforming his musical ideas to build grand, arch-like structures. In this three-part series, the Carducci Quartet interleave two quartets with a jewel-like miniature by Bartók’s living compatriot, György Kurtág. This programme features the third and first quartets, both in a three-movement form, the first intricately contrapuntal and explosively rhythmic, Bartok’s ‘return to life’ following a failed love affair; the third intense, distiled. They share space with Kurtág’s exquisite ‘moments musicaux’, spell-binding echoes of a Schubertian form.
John Adams Shaker Loops Erkki-Sven Tüür Violin Concerto No. 2 (UK premiere) Pérotin Viderunt omnes (arr. Johannes Marmén) Philip Glass Symphony No. 3 O/Modernt Orchestra Hugo Ticciati violin Artist-in-residence Hugo Ticciati returns with his Swedish O/Modernt Orchestra for a Minimalist programme focused on spiralling repetitions. Shaker Loops was John Adams’s breakthrough work, in which he combined the process of phasing with waves of oscillating melodic cells to create complex, pulsing patterns. Wave-forms are also important in the music of Estonian Erkki-Sven Tüür, whose Second Violin Concerto receives its UK premiere from Hugo Ticciati. Formerly in a progressive rock band, Tüür draws on Gregorian chant and Minimalist processes to create music of deep stillness and unpredictable, explosive energy. Pérotin provides a prelude to Glass’s Symphony No. 3, at the heart of which is a monumental Chaconne.
Memorising deepens and enriches our relationship with the music, intensifying levels of trust between players’ Nicholas Collon
Philip Ball gives a scientific insight into the way music is hard-wired into our memories
The brain is a musical time-machine
The brain is a musicaL time-machine
Few experiences feel as ‘in the moment’ as listening to music. But what we hear is shaped by our history. Nothing better illustrates William Faulkner’s famous phrase: ‘The past is never dead. It’s not even past.’ All that you hear in music is heard in the light of what came before, both a moment ago and a lifetime. Take a Bach fugue. The whole point of the form is that we pick up echoes of the same melodic fragment, delighting in the interweaving, the repetition, the ingenious overlaps and small mutations. But there’s much more than that to the role of the past. We pick out the metrical regularity even while the voices dance around it. We retain a memory of the initial key, so that we have a sense of coming home when it returns after a modulation. What’s more, I hear this music differently from Bach’s contemporaries, and indeed differently from you, because I listen and interpret through the filter of my own unique musical experience. I hear it in the light of Beethoven and Bartók, and also of The Beatles, James Brown and Glenn Branca. I hear it through a template of expectation and reference forged by my history. It might seem irrelevant that I listened to ‘A Day in the Life’ before Bach’s Art of Fugue, but it isn’t. We are innate pattern-seekers – that trait helps us survive – and it is what makes us inherently musical beings. We build up a
personalised library of reference points for making sense of music. Much of this relates to the notes themselves: we recognise the scales, harmonies and rhythms that our culture uses, for example. In the West we’re accustomed to hearing minor keys as poignant or sad, dissonance as ominous. But we also have an exquisite ‘genre radar’, laden with status judgements and so sensitive that we can often identify genre, and sometimes even a specific well-known song, from just a quarter of a second of music. Beyond this, we have personal associations: that song makes us sad because it was played at a funeral, this one reminds us of Christmas when we were ten. We begin to build up our musical storehouse from the earliest age – while still in the womb, for the unborn baby can hear. Infants respond to music, but it can be hard to figure out what they are responding to: is it the up-down contour of a melody, as some studies suggest, or the timbre of the sound (the carer’s voice, say), or the sequence of pitches? Yet by 18 months they know their favourite tunes, one way or another. As with language, by that stage they are identifying regularities and correlations: they have laid the foundations of the template that they will draw on to experience music throughout their life. And they are singing: not just imitating parrot-wise, but improvising freely and creatively. Between the ages of two and three, these songs
‘The music imprinted in that burst of neurological development during late adolescence will never leave you’ have conventionally musical structure: repeated melodic contours, dynamics, stable rhythm. The child has learnt the rules. From that point on it’s all refinement: better pitch discrimination, sharper rhythm, a sense of key and harmony. Your musical memory bank is stocked well enough for you to navigate increasing complexity – indeed, you crave it. From the teenage years, if not before, you discern that music can excite intense passions, that it shapes and signifies personal identity. Much of the music you hear between the ages of 10 and 30 will never leave you, particularly that imprinted in the burst of neurological development during late adolescence. This ‘reminiscence bump’ is found for other stimuli too, such as books and films, but it happens earlier for music, which means that you can acquire strong and emotive recall for
your parents’ choice of music too – doubtless an uncomfortable thought to some of us. These connections retain a Proustian intensity: one psychological study showed that the memories evoked by music in older adults are richer in detail than those recalled without it. Blues guitarist Mike Bloomfield had it right when he said that music becomes ’the background track for your existence’. Since music excites the pattern-sensing neural circuitry pre-verbally, it’s perhaps no surprise that the connections remain when words are failing, such as in the later stages of dementia. But MRI studies of the brain have suggested a specific explanation for this: the areas of the brain used to store memories of long-known music seem relatively immune to the ravages of Alzheimer’s disease. Some neuroscientists speculate that musical memory might be the anomaly, the ‘black swan’, that helps us understand how neurodegenerative diseases work. And this musical spark should be seen not as the last faint embers of a dying fire, but as a non-linguistic link to the person who is still there. To partake and participate in music is to enter the flow of a communal history. Music only works because we have all built it together, by tacit consensus, over lifetimes and centuries. Its patterns and puzzles are not natural phenomena but human, cultural ones: they speak across time, across age, and beyond words.
Sun 23 Sep
Sun 23 Sep
Playing the Pulse CoMA 25th-Anniversary Day
Time is a Tree
It’s time to participate, with Contemporary Music for All. Discover how new music can make sense of time, send it spinning around, speed it up, slow it down and even stop it. Bring along your mechanical metronomes, your instruments and your voices for a day of hands-on workshops and events, open to all, culminating in an evening concert given by a CoMA Anniversary Ensemble.
Voice workshop with Kerry Andrew St Pancras Room 2pm Online £14.50 (multi-buy offer, see p 43)
Workshop with Kerry Andrew, composer and vocalist in Juice, creating sung layers of time in her inimitable time is a tree. Leads to Gallery Performance at 4.30pm
Pulse and Illusion Percussion workshop with Chris Brannick Hall Two 2pm Online £14.50 (multi-buy offer, see p43)
Experience the quickfire energy of a percussion workshop led by Chris Brannick. Simply bring yourself, percussion provided. All welcome.
Ligeti: Poème symphonique CoMA Ensemble
CoMA workshops Playing the Pulse 32
Gallery Level 5pm Free, unticketed pre-concert event Kerry Andrew
Workshop with Marc Dooley Hall Two 11am Online £12.50 (multi-buy offer, see p 43)
An opportunity for players of all ages to play some of CoMA’s wide-ranging repertoire, including Andrew Poppy’s energetic Minimalist time piece Playing the Pulse. All instrumentalists welcome.
Timescraper Workshop with James Weeks St Pancras Room 11am Online £12.50 (multi-buy offer, see p 43)
A workshop investigating music which puts us in contact with time passing. We will look at the meditative experience of vastly slow pieces by John Cage, Jürg Frey and Michael Pisaro. All voices and quiet instruments welcome (no oboes, brass only with heavy mutes). Leads to Foyer Performance at 12.30pm
A Time to Listen Hall One 1pm Free, but ticketed. Please call the Box Office on 020 7520 1490 to book.
James Weeks voice with metronome The renowned vocal director and composer gives a rare performance of Tom Johnson’s mesmerising forensic analysis of our experience of time.
Sun 30 Sep
Forest of Clocks CoMA Anniversary Ensemble Hall One 6.30pm Online £22.50 – £14.50 | Savers £9.50
Programme includes Philip Cashian The Forest of Clocks Howard Jones The Illusion of Progress Michaël Lévinas Trois Pensées pour CoMA Ruta Vitkauskaite new work (world premiere) CoMA Anniversary Ensemble Gregory Rose conductor An evening of time-warping highlights from CoMA’s catalogue: Philip Cashian’s magical odyssey for choir and orchestra The Forest of Clocks; Michaël Lévinas’s swarming, otherworldly Trois Pensées pour CoMA, and Howard Jones’s The Illusion of Progress, which speaks so urgently to our time.
Into the Vortex Explore Ensemble Hall One 7pm Online £24.50 – £16.50 | Savers £9.50
Romitelli La sabbia del tempo Messiaen Preludes Lisa Illean new work (world premiere) Grisey Vortex Temporum Explore Ensemble Asier Puga conductor Taylor MacLennan flute Alex Roberts clarinet Emmanuelle Fleurot piano David López violin Briony Gibson-Cornish viola Deni Teo cello Vortex Temporum is the late masterwork of pioneering spectralist Gérard Grisey, fulfilling his vision of a music that transfigures our experience of time. Symphonic in sonic wealth and scale, with lush spectral harmonies and feverish dance-like rhythms, its three movements were imagined as adventures through three time-frames: ‘normal’, human time, the ‘expanded’ time of whales and the ‘compressed’ time of birds. Teamed with the Grisey is one of his students, Fausto Romitelli, whose La sabbia del tempo (‘The Sands of Time’) also explores the rich granularity of sound and time. Plus, a brand-new work from Australian composer Lisa Illean, herself inspired by Grisey.
Wed 10 Oct
Wed 17 Oct
Nocturnal Variations and Metamorphoses
Macro/Micro 2 Carducci Quartet
Hall One 7.30pm Online £34.50 – £16.50 | Savers £9.50
Hall One 7.30pm Online £39.50 – £19.50 | Savers £9.50 (multi-buy offer, see p 43)
Bartók String Quartet No. 4, Sz. 91 György Kurtág Officium breve Bartók String Quartet No. 5, Sz.102 Matthew Denton violin Michelle Fleming violin Eoin Schmidt-Martin viola Emma Denton cello
The Triumph of Time & Truth Hall One 7.30pm Online £49.50 – £19.50 | Savers £9.50
Handel The Triumph of Time & Truth (1757)
Bartók’s set of six quartets remain one of the 20th century’s indelible masterworks, and form the backbone of the composer’s output. In these visceral, highvoltage yet mysterious pieces, Bartók broke new ground, compressing, expanding and transforming his musical ideas to build grand, arch-like structures. In this three-part series, the Carducci Quartet interleave two quartets with a jewel-like miniature by Bartók’s living compatriot György Kurtág. This concert features two of Bartok’s great ‘arch’ form quartets, characterised by symmetries, visceral dance rhythms, and rustling night music. Linking these is Kurtág’s Officium breve, one of his mostperformed works, a string of 15 opalescent gems; here is music that breathes quietly, penetrating a vast depth of space.
Mhairi Lawson soprano Katy Crompton soprano Alex Chance countertenor Nick Pritchard tenor Matthew Brook bass Edward Higginbottom conductor Instruments of Time & Truth Oxford Voices
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Christoph Denoth guitar Christoph Denoth leads the guitar on a moonlit journey through 400 years, from Dowland’s music for lute to a 21stcentury premiere. Theme and variations is a common thread, offering the listener vivid snap-shots of a musical idea in multiple different colours and emotions. Themes undergo a metamorphosis, as they travel from one variation to another, passing on from the nocturnal evocations of Dowland and Benjamin Britten to Weiss and Steve Goss. Besides Giuliani’s virtuosic Rossini paraphrases and Piazzolla’s melancholic tangos, Denoth takes in variations on a fandango and bolero in Brouwer’s Sonata, ending with a perpetuum mobile in the third movement Toccata de Pasquini.
Instruments of Time & Truth
John Dowland My Lord Willoughby’s Welcome Home The Shoemaker’s Wife The Frog Galliard Mister Dowland’s Midnight Fantasia Benjamin Britten Nocturnal after John Dowland, Op. 70 Weiss Fantasia Passacaglia Stephen Goss TIME (world premiere) Giuliani Rossiniana No. 1, Op. 119 Piazzolla Chiquilín de Bachín, Triunfal Falla Homenaje pour ‘Le tombeau de Claude Debussy’ Leo Brouwer Sonata (for Julian Bream, 1990)
Fri 19 Oct
Instruments of Time and Truth are joined by Oxford Voices and a stellar line-up of soloists for this rare performance of Handel’s eponymous oratorio, both his first and his last. Whether its theme – the need to invest in a higher good rather than in transient beauty – resonated with the composer in his final years, we don’t know. What we do know is that the work exudes Handel’s amazing fluency as a young composer, and his ability to recast his music in the light of a lifetime’s experience. In many ways this oratorio is Handel’s alpha and omega: it first saw the light of day at the very beginning of his career, in Rome in 1708, as Il Trionfo del Tempo e del Disinganno. Then, following another Italian version in 1737, towards the end of his life, Handel supervised the expanded 1757 version, now in English, transforming a chamber piece into a fully formed oratorio, boasting chorus and brass, the essential circumstantial trappings of the genre for an English public, then as now.
Sun 28 Oct
Sat 20 Oct
Hall One 7pm Online £24.50 – £16.50 Savers £9.50
On the Hour London Sinfonietta
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7pm The Ghost in the Machine Player Piano Rolls and the music of Conlon Nancarrow 8pm Morton Feldman Bass Clarinet and Percussion Steve Reich Four Organs 9pm Harrison Birtwistle Pulse Sampler Stockhausen Zeitmasse Steve Reich
Rex Lawson player piano London Sinfonietta Sound Intermedia Time underpins all music – whether composers suspend it or mark it passing. London Sinfonietta’s second concert in Kings Place’s Time Unwrapped is in three parts, each starting strictly on the hour. Each short segment and each piece tackles time in different ways, phasing and tangling it, slowing it right down or giving it a shot of adrenaline. Set your watches and allow music to alter your concept of time.
‘Form is easy: just the division of things into parts. Scale is another matter’
Late Style Imogen Cooper Hall One 7.30pm Online £49.50 – £19.50 | Savers £9.50
Haydn Piano Sonata in C major, Hob. XVI:50 Thomas Adès Darknesse Visible Beethoven Piano Sonata in A flat, Op. 110 Schubert Piano Sonata in C minor, D958 Imogen Cooper piano What effect do years of composing and life experience have on creativity? In a special recital for Time Unwrapped, Imogen Cooper surveys works of Haydn, Beethoven and Schubert. Haydn’s final sonatas engage with the sonorous new Broadwood pianos he encountered in London, which expanded his range while allowing his subversive streak free rein. In his final sonatas, Beethoven abandoned Classical conventions, turning time back on itself, combining unbridled emotion with archaic technique, forging radical new forms. His radiant Op. 110 sonata is prefaced here by Adès’s exploration of Dowland’s tormented plea for death. The first of Schubert’s audacious late sonatas, written in the final year of his life, offers overwhelming darkness and visionary intensity.
Wed 31 Oct
fri 2 nov
Ezra Pound: Making it New Poet in the City
Before Life and After Roderick Williams & Iain Burnside
Hall Two 7pm Online £12.50 | Savers £9.50
Hall One 7.30pm Online £39.50 – £16.50 | Savers £9.50
Wed 7 Nov Carducci Quartet
Programme to include Britten ‘Before Life and After’ (Winter Words) Finzi ‘The Clock of the Years’ ‘Proud Songsters’ (Earth and Air and Rain) ‘Amabel’ (Before and after Summer) Ireland ‘Summer Schemes’ Roderick Williams baritone Iain Burnside piano Harriet Walter narrator ‘The thrushes sing as the sun is going … As if all Time were theirs.’ Proud Songsters Ezra Pound
Born in America, but at home in the literary landscapes of London and Italy, Ezra Pound holds the foremost position in the modernist canon, a writer who transgressed the boundaries of form, politics and time. Regarded by his contemporaries as the man who made modern poetry possible, he playfully ruptured syntax, narratives and conventional rhythms to establish a discordant poetics. Join Poet in the City as we celebrate the new terrain conquered by this great poet.
The poet Thomas Hardy had a lifelong preoccupation with memory and the passing of time, for what was loved, what was lost and what could never be. Acclaimed duo baritone Roderick Williams and pianist Iain Burnside delve into Hardy’s world, in which nature and the everyday take on startling spiritual power. Their sequence of words and music centres on settings by Britten, Finzi and Ireland, interleaved with poetry which responds to Hardy’s ideas from a woman’s perspective. Roderick Williams
Macro/Micro 3 Carducci Quartet Hall One 7.30pm Online £39.50 – £19.50 | Savers £9.50 (multi-buy offer, see p 43)
Bartók String Quartet No. 2, Sz. 67 György Kurtág Hommage à Mihály András Bartók String Quartet No. 6, Sz. 114 Matthew Denton violin Michelle Fleming violin Eoin Schmidt-Martin viola Emma Denton cello Bartók’s set of six quartets remain one of the 20th century’s indelible masterworks, and form the backbone of the composer’s output. In these visceral, high-voltage yet mysterious pieces, Bartók broke new ground, compressing, expanding and transforming his musical ideas to build grand, arch-like structures. In this three-part series, the Carducci Quartet interleave two quartets with a jewel-like miniature by Bartók’s living compatriot, György Kurtág. Bartók’s Second Quartet takes his language from balanced grace to the extremity of destruction, ending in melancholy fragmentation. Splinters pierce the darkness in Kurtág’s deeply moving Hommage à Mihály András, 12 microludes which illuminate and resound in an expanded time. The concert ends with Bartók’s sixth and final quartet, conjuring up a Hungary the composer felt was lost forever.
I have always been suspicious of the straightarrow simplification of the history of western classical music: Bach leads to Handel leads to Mozart leads to Beethoven and onwards. Much of the music I love exists in its own timeline — 16th-century English composers like Browne and Cornysh; Tallis, borrowing but also stylistically starting his own family tree from the continental styles of the day. As we see from our own families, sometimes seemingly genetic traits skip a generation or three, or come from external influences. I have always been interested in the less obviously audible elements of ‘influence’ — less ‘my dad wrote this so I am refining it’ and more ‘I heard this thing out of the corner of my ear in a record shop in 1954 and it changed my sense of the amplified voice’. These deviations
Composer Nico Muhly doesn’t buy the idea of a straight-line progression in music history, finding his creative kindling in distant centuries
from the straight line are always, for me, the most joyful moments — like when Mozart allowed his own music to be influenced by his impromptu transcription of the Allegri miserere, reaching back 130 years to harvest a beautiful, slightly forbidden, vegetable. Or Stravinsky’s reaching back 200 years to Pergolesi for his Pulcinella: aside from the obvious ways, how does that ouroboros-like musical shape (the snake eating its tail) teach us more about Stravinsky’s music both before and after such a borrowing?
I also love the ways in which 20th-century English choral music seems to exist in its own agricultural system — while it’s true that you can find a few traces of French organ music in Howells’s own, the true ecstasies of his output seem to come from a different tradition from that of other music being made at his particular time — this, to me, is the key distinction. The 1950s on his desk sound nothing like the 1950s on Boulez’s, or Stravinsky’s, or Ella Fitzgerald’s or George Crumb’s. In my own music, I try to actively avoid the taxonomies that music historians and critics impose on the music of our time — those systems are incredibly valuable (if reductive) for music by the deceased, but for contemporary music of any kind, it feels like being pushed onto the motorway rather than enjoying the slower backroads where an impromptu stop is always possible, if not invited. It feels like a musical sabbath to connect to music from 500 years ago, stopping the progress of time to look backwards to Byrd’s heart-breaking harmonic language, and to Taverner’s melismatic genius. During the working week, I can plug back in to the hyperlinked possibilities of the 21st century, but I find myself always drawn to this kind of curved time, where Thomas Adès looks towards Couperin but expressed in a decidedly modern idiom, or to the impossible beauty of a Bach chorale in Berg’s violin concerto, like an ancient relic in a complicated, modern reliquary.
I can plug in to the hyperlinked possibilities of the 21st century, but find myself drawn back to this kind of curved time
When countertenor Iestyn Davies asked me to write a piece for him and a lutenist, I immediately thought about this idea of an historical artefact, preserved in some stylised way. I was drawn to the way in which Richard III’s body was found, bent and broken, underneath a car park in Leicester, and looked for non-Shakespearean (because Shakespeare feels too difficult for me to set) texts surrounding Richard’s death, and eventually landed on a lovely and surreal narrative poem by Guto’r Glyn (c.1435-1493). I framed that with commentary of our time, by Richard III enthusiast Philippa Langley — the whole piece is meant to be a dialogue between today and the 15th century. We see this sort of conversation throughout these concerts: Monteverdi looks back a century to Gombert, using his motet In illo tempore as a piece of sand around which he makes a pearl. Even the idea of playing Bach’s harpsichord music on the piano is a challenging anachronism. These concerts also feature music that insists on moving quickly and slowly simultaneously, rather like our perception of great units of historical, geological time: Steve Reich’s Drumming is an excellent example of this, but also Nancarrow’s studies, which sound as if they would continue ticking along after humans have become extinct.
Wed 14 Nov
Sun 18 Nov 16–18 Nov / 22–25 Nov Alasdair Beatson
Harrison’s Clocks Alasdair Beatson Hall One 8pm Online £39.50 – £16.50 | Savers £9.50
Beethoven Bagatelle, Op. 33 No. 7 Harrison Birtwistle Harrison’s Clocks Ligeti Musica ricercata Nos. 3 & 7 György Kurtág Perpetuum mobile (objet trouvé); Play with Infinity; ...Humble regard sur Messiaen...; Bellfanfare for Sándor Veress (from Játékok) Messiaen ‘Regard du Temps’ (from Vingt Regards) Schumann ‘Kind im Einschlummern’ (from Kinderszenen, Op. 15) Fauré Nocturne No. 9 in B minor, Op. 97 Bartók ‘Night Music’ (from Out of Doors, Sz. 81) Schumann Gesänge der Frühe, Op. 133 (first movement) Ravel ‘La vallée des cloches’ (from Miroirs) Nancarrow ‘Canon A’ (from ‘Three Canons for Ursula’) Alasdair Beatson piano
In a bespoke programme for Time Unwrapped, Alasdair Beatson has devised a playful exploration of metre and mechanism. His ingenious collage of reconstructed fragments contrasts the miniature toccatas of Beethoven and Ligeti with visions of the infinite by Schumann, Messiaen and Kurtág, alongside evocative sounds of dawn, distant bells and the nocturnal whispers of insects. The intricate, virtuosic mechanisms of Birtwistle’s Harrison’s Clocks will punctuate the recital like the chiming of the hours.
Time Unwrapped at the London Jazz Festival ‘From Ragtime to No Time’ … borrowed from the title of a 1974 album by the great drummer Beaver Harris, the phrase encapsulates the dynamic of jazz and the art of groove. From the transformation of African rhythms into syncopation, swing, bepop, funk and rock, and into the wide open spaces of freedom – today’s jazz is a polyrhythmic treasure trove. The EFG London Jazz Festival at Kings Place will explore the notion of jazz time in a voyage into the past – and especially the time-signature-bending experiments of Dave Brubeck and Don Ellis – and into the present and the jazz world’s fascination with new beats from around the world.
‘Virtuosity is our victory over Time, over extinction, in its purest form’ Thomas Adès
In Time of War Brodsky Quartet
LONDON CHAMBER MUSIC SUNDAYS
Hall One 6.30pm Online £39.50 – £19.50 | Savers £9.50 LCMS Friends discount applies
Crumb Black Angels Brubeck Regret Schulhoff String Quartet No. 1 Karen Tanaka at the grave of Beethoven Shostakovich String Quartet No. 8 Brodsky Quartet The traumatic impact of war can burn memories into the brain: the desire to protest, to memorialise and to pay tribute to human courage has inspired composers down the ages. In this special programme the Brodsky Quartet bring together responses to wars from the last hundred years, from the First Quartet of Erwin Schulhoff, who ended his life in a concentration camp, and Shostakovich’s response to the Allied bombing that devastated Dresden, to George Crumb’s iconic protest against the Vietnam War, Black Angels. Karen Tanaka’s work recalls the Balkan conflict, while Dave Brubeck’s Regret is a poignant reflection on the attacks of September 11 2001. Brodsky Quartet
Fri 23 Nov
Sat 1 Dec
Mozart’s Requiem Hugo Ticciati, O/Modernt Orchestra and soloists Hall One 7.30pm Online £49.50 – £19.50 Savers £9.50
violist of the Brodsky Quartet:
Hall One 7.30pm Online £39.50 – £19.50 | Savers £9.50
Satie Gymnopédie No.3 Thomas Adès Lover in Winter Debussy Danse sacrée et Danse profane Nico Muhly Clear Music Dowland (arr. Nico Muhly) Time Stood Still Nico Muhly Motion Old Bones (world premiere of new arrangement) Thomas Adès Four Quarters Brahms Gestillte Sehnsucht Iestyn Davies countertenor Sally Pryce harp Principal Players of Aurora Orchestra Devised in collaboration with composer Nico Muhly and countertenor Iestyn Davies, Aurora’s programme stops the clocks and delves into ancient notions of time, as explored by Dowland, Debussy, Satie and Adès. Muhly’s distinctive musical voice is threaded throughout, from his haunting account of the discovery of Richard III’s Old Bones to the virtuosic and uplifting quintet Motion. Adès’s portrayal of the ‘25th hour’, where time at last seeps beyond the measure of the clock face at the end of his extraordinary Four Quarters, completes a transcendental programme.
Pre-concert event: Nico Muhly in conversation with Tom Service St Pancras Room 6.30pm
uh Nico M
‘This brings us to one of the most iconic string quartets of the 20th century. Dmitri Shostakovich’s Eighth Quartet was written in 1960 and was an immediate reaction to seeing the devastation caused to the city of Dresden by the Allied bombing. The composer was already at a low ebb in his life and said, “if no-one writes me an epitaph, let this be it”. It carries the inscription “For the Victims of Fascism and War”.
Old Bones Aurora Orchestra with Iestyn Davies e yB
‘Erwin Schulhoff didn’t just see war images; as a Jew in Prague he experienced them first-hand. He died in a Nazi concentration camp but not before writing some of the most exciting and original music I know. Dave Brubeck would often visit our office when he was in London. On one such occasion he brought with him a little present for us. It was a piece called Regret and turned out to be his response to the 9/11 attack.
‘George Crumb’s masterpiece, Black Angels, is surely one of the stand-out quartets of all time. Dating from Friday 13 July 1970, it is his comment on the Vietnam War and is brimming with invention. It is a highly theatrical and colourful work utilising many techniques unique to this piece. While Karen Tanaka was writing her wonderful two-movement work inspired by Beethoven’s First Quartet, Op. 18 No. 3, she found herself bombarded with deeply upsetting images from the war in Bosnia. She somehow managed to turn these into one of the most calm and touching movements imaginable.
Schubert String Quartet No. 14, D810 Death and the Maiden Mozart Requiem in D minor, K626 O/Modernt Kammerorkester O/Modernt Quartet Voces8 Mary Bevan soprano Katie Bray mezzo-soprano Sam Dressel tenor Dingle Yandell bass An intimate performance of Mozart’s sublime Requiem is prefaced by Schubert’s coruscating vision of mortality, Death and the Maiden. 1791, the last year of Mozart’s life was one of optimism and creative ferment: he completed Die Zauberflöte, La clemenza di Tito and the Clarinet Concerto at astonishing speed, leaving only the Requiem unfinished at the time of his final illness. A tangle of myths grew up around it, fed by Peter Shaffer’s play Amadeus, but while it was not conceived as the composer’s own Requiem, and contains the hands of others, it has often been cited as one of the most moving works in all music.
Mon 31 Dec
Wed 5 Dec
Mon 31 Dec
Aurora Orchestra The Lock-In: New Year’s Eve Party Hall Two 9pm Online £39.50* | On sale soon *ticket price to include street food available in the foyer. A voucher will be provided with your ticket purchase which you will need to show when obtaining food.
‘And the angel which I saw stand upon the sea and upon the earth lifted up his hand to heaven, and sware by him that liveth for ever and ever ... that there should be time no longer’ Revelation of St John the Divine
Messaien’s otherworldly Quartet for the End of Time, famously composed in the prisoner-of-war camp Stalag VIII A and premiered outside in freezing rain, was inspired by the Book of Revelation. Here the march of progressive time is forgotten, the focus turned on eternal, unchanging divinity. For this performance, artist-in-residence Hugo Ticciati is joined by three outstanding musicians of his generation, Swedish cellist Andreas Brantelid, UK pianist Alasdair Beatson and clarinettist-composer Mark Simpson, for this meditation on an ecstasy of stasis, where ‘all is love’.
Mozart Overture from The Marriage of Figaro Piano Concerto No. 17 in G, K453 Symphony No. 39 in E flat, K543 Other works including waltzes by Johann Strauss I & II Imogen Cooper piano Aurora Orchestra Nicholas Collon conductor Aurora Orchestra brings the year to a close in style with a New Year’s Eve programme in the company of worldclass pianist Imogen Cooper. Concluding both the Time Unwrapped and Mozart’s Piano series for 2018, this special concert transports us to Vienna, the city which inspired Mozart to create much of his finest music, and which gave us the two ‘Waltz kings’, Johann Strauss I and II. Count down to the year’s end with a programme of song, dance and celebration including some of Mozart’s best-loved works – the Marriage of Figaro overture, the G major piano concerto, supposedly inspired by the composer’s pet starling, and the 39th symphony, which evokes the same Austrian Ländler folk dances from which the Strausses’ Viennese waltzes would later emerge.
Hugo Ticciati violin Mark Simpson clarinet Andreas Brantelid cello Alasdair Beatson piano
Messiaen Quatuor pour la fin du temps (1941)
MOZART’S PIANO Hall One 6pm Online £49.50 – £24.50 Premium tickets £69.50 | Savers £9.50
Hall One 8pm Online £39.50 – £19.50 | Savers £9.50
Mozart’s Piano A Viennese New Year
Quartet for the End of Time Hugo Ticciati and Friends
Count down to the new year with a very special edition of Aurora Orchestra’s latenight Lock-In series. A late-night orchestral series like no other, The Lock-In at Kings Place is curated by Aurora Orchestra’s Principal Players, featuring music and special guests that inspire them. For this unique New Year’s Eve party, Aurora welcomes you to a festive night packed with food and drink, performances, activities, and a host of guest players and singers to ring in the New Year.
Roger de Grey Self-Portrait, c.1960-3 Oil on canvas
Alberto Morrocco Self-Portrait, 1964 oil on canvas
Cherry Pickles Self Portrait as Lucian Freud, 2016 Oil on linen
The Self in Time
Time Unwrapped will be reflected in two major exhibitions at the Piano Nobile Gallery, Kings Place
On the tenth anniversary of Kings Place, and to celebrate the collaboration between Kings Place, Piano Nobile Gallery and the Ruth Borchard Collection, Piano Nobile presents two exhibitions showcasing the richness of the Ruth Borchard Collection and British self-portraiture in the twentieth and twenty-first centuries. Self-portraits are at once the most human, revealing, and naked of art forms, yet also the most existential in directing attention to change, experience and life’s duration. These two exhibitions reflect on the genre of self-portraiture specifically in relation to Kings Place Music Foundation’s new programme, Time Unwrapped. Our curators considers the concept of time from its most experiential to its most intangible manifestations.
Time Unwrapped at Piano Nobile Spring Exhibition Jan – Jun 2018
Autumn Exhibition Sep– Dec 2018
Piano Nobile Gallery exhibits on Level –1
Jiro Osuga b. 1968 Crowd, 2013 Oil on canvas
Lawrence Gowing Self-Portrait, 1963 Oil on board
Pangolin London will bring together highlights from the past ten years of exhibiting at Kings Place
Over the past ten years Pangolin London have curated a dynamic programme of nearly 70 exhibitions of sculpture. From major solo shows by renowned British sculptors and museum-quality historical shows to monumental survey shows of sculptors drawings, Pangolin London’s approach has been ambitious. Gallery Director Polly Bielecka writes:
Our remit from the outset has been to promote sculpture in all its forms, to look at the traditional canon of British sculpture with a fresh approach and to support young sculptors through our residency programme. Whilst we are first and foremost a commercial gallery, our exhibitions hope to educate and inspire our viewers and break down the barriers of sculpture by presenting it in unusual ways. I think our most challenging shows in a practical sense have been Sculpture in the Home and Sculpture in the Garden where we transformed the gallery into a 1950s period home and a full-scale garden complete with water sculpture importing 5 tonnes of woodchip and 6 fully-grown birch trees!
Ultra Slow-Mo Film-makers Freya & Steve Hellier, who created the video identity for Time Unwrapped, explain how they captured the vibrations of instruments being performed ‘As we were thinking about different ideas for the Time Unwrapped videos we kept coming back to pitch as the best representation of music and time. Keeping music at the heart of our inspiration, we wanted to show the normally unseen vibrations that constitute different pitches, and for that we needed to almost stop time.
‘Filming at a very high frame rate (1500 frames per second, compared with the standard 25 frames per second of TV in the UK) with a specialist camera and lighting allowed us to shoot in ultra slow motion. It revealed just how extreme the vibration of a bowed open string or a beaten cymbal really is, the latter almost appearing to melt into ripples after the blow.
To celebrate its tenth year at Kings Place and to coincide with Time Unwrapped, Pangolin London will bring together highlights from the past ten years in a show called Decade. From miniature to monumental, and featuring a range of materials, the exhibition will not only examine the works that form the highlights but will also set them in a wider context, looking at how they were made and what happened to them after they left Kings Place. Pangolin London will also launch a new sculpture trail in and around the building and canalside at Kings Place. pangolinlondon.com
‘Many viewers have assumed that we used special effects or detuned the strings to create such a seemingly unreal response from the cello, viola, cymbal, harp and timpani, but they were all regular instruments played in their normal way. Each 20-second clip is made up of only a 0.3 second of real-time playing.’ The videos are available on our website: kingsplace.co.uk/time, and on our social media channels
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St Pancras Room
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We aim to make your visit to Kings Place as comfortable as possible. Kings Place is fully accessible for wheelchair-users, with lifts from ground floor to concert level, and multiple wheelchair-accessible toilets. There is an induction loop at the Box Office to assist hearing-aid users. An infrared system is available in both Hall One and Hall Two. All areas are accessible to those with Guide and Hearing Dogs. To help us give you the best possible experience, please inform the Box Office team of your access requirements either by emailing email@example.com or by calling 020 7520 1490. The full Access Guide can be found on the website.
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Please note that food is not permitted inside our venues. Please ensure that all drinks are decanted into the plastic cups provided prior to entering our venues. Red wine is not permitted inside Hall One.
Food & drink Rotunda Bar & Restaurant is the perfect place to dine and enjoy a drink when attending a performance. With its waterside setting, and a range of dining options including a full à la carte menu, great value preperformance menu, light postperformance supper, as well as a selection of smaller nibbles and bar food, there is something to suit everybody. However if it’s just a drink you’re after, Rotunda also has a great range of beers and wine for a pre- or postperformance tipple. +44 (0)207 014 2840. If you just want a quick bite, the Green & Fortune Café is ideal, serving a selection of daily hot specials, soups and hot carvery rolls as well as salads, sandwiches and cakes. which are all made fresh every day. +44 (0)207 014 2850. The Concert Bar is situated adjacent to the concert halls. Place your interval order at the bar prior to the start of the performance and your drinks will be waiting for you.
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90 York Way London N1 9AG
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St Pancras International Thameslink
Journey 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.
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 0343 222 1234.
The nearest tube station is King’s Cross St Pancras, on the Circle, Metropolitan, Hammersmith & City, Piccadilly, Northern and Victoria lines. The station has step-free access from platform to street level. The quickest way to Kings Place is via the new King’s Boulevard. You can also walk up York Way.
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The 390 bus route runs along York Way. Other services running to nearby are routes 10, 17, 30, 45, 46, 59, 63, 73, 91, 205, 214, 259 & 476.
Kings Place 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. An alternative space is Handyside Car Park in the Tapestry building on Canal Reach, open 8am–10pm, 7 days including Bank Holidays.
Santander Cycle docking stations are located on Goods Way and on the corner of Crinan Street and York Way. For updates and cycling routes please visit tfl.gov.uk/cycling or call 0343 222 1234. Kings Place 90 York Way London, N1 9AG
Susannah Howe binomi with Luisa Lorenza Corna
Peter Millican Helen Wallace Rosie Chapman Amy Sibley-Allen
Collages Collaged elements taken from out-of-copyright (assuming that “faithful reproductions of two-dimensional public domain works of art are public domain”) images except: p 2 Longcase clock © Rijksmuseum, Amsterdam | p 11 Horloge met de huwelijksvoltrekking © Rijksmuseum, Amsterdam | p 14 Eliza Carthy, Martin Carthy, Norma Christine Waterson, Mike Waterson and Lal Waterson supplied | p 19 Black hole © NASA/CXC/M.Weiss; Pocket chronometer © Rept0n1x | p 25 Hugo Ticciati supplied | p 31 cogs © Kevin Walsh; 18T Cog © bow pow; clock cogs © David Elliott p 36 Ouroboros © Rijksmuseum, Amsterdam Contributors p3 Peter-Millican © Nick White | p 4 Paul Griffiths supplied | p 10 Fiona Maddocks © Katherine Rose | pp 18-19 Professor Malcolm Longair © Cambridge University; Tom Service © BBC3; | p 30 Phillip Ball suppied | p 36 Nico Muhly © Ana Cuba Listings p 7 Crick Crack Club © tbc; Charlotte Beament © Boyd Gilmour; Ádám Fischer © Agnete Schlichtkrull; William Basinski © Peter J. Kierzkowski | pp 8-9 Aurora Orchestra supplied; The Sixteen © Arnaud Stephenson; Max Mandel (OAE) © Angela Moore, LucienneRoberts+; Simon H. Fell © Christophe Péan; Colin Currie Group © Chris Gloag; Hugo Ticciatti © Marco Borggreve pp 12-13 Katya Apekisheva & Charles Owen © Sim CanettyClarke; Theatre of Voices © João Messias; Yulianna Avdeeva © C. Schneider; Manu Delago © Mirko De Nicolo; Manu Delago © Mirko De Nicolo; Christine Rice © Patricia Taylor | pp 16-17 Thomas Gould © Aga Tomaszek; O/Modernt Quartet supplied; Evelyn Glennie © Jim-Callaghan; Eliza & Martin Carthy © Elly Lucas; London Sinfonietta in rehearsal © Abdi Ibrahim; Tom Service © BBC3; ZRI supplied | pp 20-21 Martin Feinstein © Sim CanettyClarke; Clare Wilkinson © Stefan Schweiger; Feinstein Ensemble © Sim Canetty-Clarke; Robin Bigwood supplied | pp 22-23 Nicholas Hurndall Smith supplied; Chloe Hanslip © Benjamin Ealovega; Brain Pool © Robbie Thomson; Morton Feldman © Bogaerts, Rob / Anefo; Darragh Morgan supplied | p 26-27 Chiaroscuro Quartet © Sussie Ahlburg; Icebreaker © Lukas Binder; Miyoko Shida © Rigolo; Aurora Orchestra supplied; Lawrence Power © Giorgia Bertazzi; Soumik Datta, Photo courtesy of Soumik Datta Arts; Jyotsna Srikanth © Pritpal Ajimal | pp 28-29 Stephen Hiscock supplied; Downside Abbey Monks © Adrienne Photography; Harry Christophers © Marco Borggreve; Cédric Tiberghien © Jean-Baptiste Millot; Carducci Quartet © Tom Barnes; OMK Kammarorkester © Susan Poeschl | pp 32-33 CoMA summer school group supplied; Kerry Andrew © Morag Galloway; Explore Ensemble © Cathy Pyle; Christoph Denoth © Benjamin Ealovega; Carducci Quartet © Andy Holdsworth; Instruments of Time & Truth © Ebyan Rezgui; Mhairi Lawson © Ricardo Alcaide | pp 34-35 Steve Reich © Jeffrey Herman; London Sinfonietta © Clelia Carbonari; Rex Lawson © Axel Coeuret; Imogen Cooper © Sussie Ahlburg; Ezra Pound © Walter Mori; Roderick Williams © Benjamin Ealovega; Carducci Quartet © Andy Holdsworth | pp 38-39 Alasdair Beatson © Giorgia Bertazzi; Brodsky Quartet © Eric Richmond; Paul Cassidy supplied; Iestyn Davies © Benjamin Ealovega; Nico Muhly © Ana Cuba; Mary Bevan © Victoria Cadisch | p 40 Mark Simpson © Kaupo Kikkas; Nicholas Collon © Ben Blossom; Aurora Orchestra © Lewis J Brockway. © Kings Place 2016. 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.
‘If architecture magnifies Space, music transfigures Time’ Gérard Grisey
2018 Sat 6 Jan
kingsplace.co.uk/time online savers £9.50 FRI 23 Feb
When Time Began: Creation myths Crick Crack Club
Prophecy Scottish Ensemble with Christine Rice
In The Beginning The Creation OAE with Ádám Fischer
Time-Line Thomas Gould
SUN 7 Jan
On Time out of Time William Basinski FRI 12 Jan
Memento Poet in the City and Aurora players SAT 13 Jan
Reincarnations The Sixteen SUN 14 JAN
Time and Vision OAE – Bach, the Universe and Everything Fri 19 Jan
The Ragging of Time
Wed 28 Feb
Fri 2 Mar
Alternate Time Flows Dame Evelyn Glennie & O/Modernt Quartet Fri 16 – sun 18 MAR
Time & Tradition Martin & Eliza Carthy + Chris Wood Sat 24 Mar
Turning Points: Space-Time London Sinfonietta Sun 8 Apr
Chaplin in the Jazz Age ZRI Fri 13 – sun 15 Apr
sat 19, sun 20 May
Beethoven and the Dinosaurss Aurora Orchestra Sun 20 May
Four Seasons Lawrence Power & Collegium Sat 2 Jun
Songlines Encounters: Raga Seasons with Soumik Datta & Jyotsna Srikanth
Sat 16 Jun
Book of Hours The monks of Downside Book of Hours: Salve Regina The Sixteen Sat 1 JuL
Sun 21 Jan
Portrait Hugo Ticciati & friends
Wed 18 Apr
In Search of Lost Time Chloë Hanslip & Danny Driver
Macro/Micro 1 Carducci Quartet
Wed 31 Jan
FRI 20 – SUN 22 APR
Looping Time Hugo Ticciati & O/Modernt
Wed 25 Apr
Fri 9 Feb
Slow For John Cage
Fri 16 Feb
Early and Late Chiaroscuro Quartet
Tuning In: Stimmung Theatre of Voices Inheritance: Bach and Chopin Yulianna Avdeeva Sat 17 Feb
Inside a Human Clock/ Unplugged Manu Delago & Friends
Sun 29 Apr
Sat 5 May
Fri 11 May
Time Stands Still Hugo Ticciati, Víkingur Ólafsson & Miyoko Shida
Wed 31 Oct
Before Life and After Roderick Williams & Iain Burnside
Time Phase Colin Currie Group
Sun 28 Oct
Late Style Imogen Cooper
Fri 15 Jun
In Place Melanie Pappenheim & ensemble
Mozart Memorised Aurora Orchestra with Cédric Tiberghien
Let There Be Light Katya Apekisheva & Charles Owen
Sat 20 Oct
On the Hour London Sinfonietta
Ezra Pound: Making it New Poet in the City
BachWeekend: Time Changes The Feinstein Ensemble & Friends
Sat 20 Jan
Fri 19 Oct
The Triumph of Time & Truth Instruments of Time & Truth
Wed 19 Sep
Fri 21 Sep
Sun 23 Sep
Playing the Pulse CoMA 25th-Anniversary Day Sun 30 Sep
Into the Vortex Explore Ensemble Wed 10 Oct
Nocturnal Christoph Denoth Wed 17 Oct
Macro/Micro 2 Carducci Quartet
fri 2 nov
Wed 7 Nov
Macro/Micro 3 Carducci Quartet Wed 14 Nov
Harrison’s Clocks Alasdair Beatson 16–18 Nov / 22–25 Nov
EFG London Jazz Festival Sun 18 Nov
In Time of War Brodsky Quartet Fri 23 Nov
Old Bones Aurora Orchestra with Iestyn Davies Sat 1 Dec
Mozart’s Requiem O/Modernt, Voces8 Wed 5 Dec
Quartet for the End of Time Hugo Ticciati & Friends Mon 31 Dec
A Viennese New Year Aurora Orchestra with Imogen Cooper The Lock-In: New Year’s Eve Party
What does music have to tell us about Time? The tenth edition of our award-winning Unwrapped series explores how music can stretch time, con...
Published on Jul 14, 2017
What does music have to tell us about Time? The tenth edition of our award-winning Unwrapped series explores how music can stretch time, con...