The final straight

An inside view from Andy:

Well, we've had 29 events so far, and have 9 more to go over the next 4 days - if you've not managed to catch anything yet, then don't miss your chance!  It's been pretty tiring, but there have been some amazing concerts, with more still to come.  

I've just finished a wind quintet concert with my Daniel's Beard colleagues, which was great fun.  Wind quintet repertoire can be a bit annoying sometimes, as composers often didn't really know what to do and basically tried to write a string quartet for the wrong instruments, but there are a few crackers out there...Samuel Barber'sSummer Music being one of them.  One of the audience said afterwards "I don't normally like the Ibert piece, but today I loved it!", which is a great compliment to have!  The Beardy Winds have a rest this evening as Alastair (on violin), Tom (cello) and Aaron (piano) perform a really interesting programme - Schnittke (think Shostakovich with less hair) and Brahms.  The Schnittke is dedicated to the doctor who resuscitated him not once, not twice but on three seperate occasions, and Brahms is one of the greatest piano trios out there.

Next for us will then be a concert on Thursday, where we're going to give the UK premiere of a piece by a German composer who isn't particularly well known here - Volker David Kirchner.  Now, this may be a bad plan - will people turn up to hear something by a composer that they've never heard of? It's hard to tell! Hopefully - if they don't like it, then it's only 12 minutes of their lives that they won't get back, after all.  On the other hand though, it really is a great piece, and of all the obscure, unknown repertoire which we've introduced over the last few years, there hasn't been a duff piece in there yet, so I'm hoping that people will trust us a bit and take a wee risk on it!  The second piece in the programme is by an old friend of mine, John Stringer.  He wrote it for us to perform at the Sound Festival in Aberdeen last year.  It's about 8 minutes long, and is really atmospheric, so it should work well in Cottier's.  The Piano Quartet by Richard Strauss is surprisingly uncommon in concert programmes. Given that he was the most performed living composer in the world at one point (whilst he was alive, obviously!), it's odd that it isn't more familiar, especially as it's such a fine piece.  Really lyrical, all the swoops and grand gestures that you would associate with Strauss, yet still with the strong classical and early romantic influence that his father exerted on him.

That's the last Daniel's Beard gig, but I'll be involved in the WEF Winds on Friday - Mozart's Serenade for 13 Winds.  It's a stunning piece, one of the greats for wind players.  The chance to play it with a lineup of players from all of the orchestras and several different chamber groups is very exciting, especially since we'll be conductor-free...  Then there may be a sneaky pint of ale to sip whilst listening to the Bagels, and then a chance to sleep!

An adventurer's review

We had a visit from adventurer Anna Hughes over our opening weekend - she's on a round-Britain sail at the moment, and hopped off the yacht to soak up a little culture.  In between writing her own blog and chapters of a new book (about her first round-Britain-trip - pedal powered this time) she sent us a wee review of her visit....

On a surprise trip to Glasgow I was delighted to be able to catch some of the Cottier Chamber Project, part of the West End Festival. I was there as a guest of my brother-in-law, Lenny Sayers, one of the composers featured in the festival, and Andy Saunders, the Artistic Director. So I got a brief glimpse into the organisation of the festival, the behind-the-scenes preparations, the rehearsals, the boxes of CDs hidden behind the couch. Almost as soon as I’d arrived we were whisked off to Òran Mór, the nightclub-in-a-crypt of a former church, where the PaCoRa Trio and Salsa Celtica would be performing a night of jazz, folk and celtic fusion. The Czech trio were up first and delivered a fantastic mix of furious Eastern European folk melodies and jazz bass lines, the violinist deftly alternating between incredible dexterity and strong rhythmic thrusts on the strings with the heel of his bow. The double bassist danced, and didn’t stop smiling for the entire set. The cimbalom, part-guitar, part-piano, finished off this fabulous, energetic trio, the audience warming up gradually and slowly creeping onto the dance floor.

Any shyness had disappeared by the time Salsa Celtica came on; the dance floor was packed with couples salsa-ing and jiving. A front line of pipes, banjo and fiddle performed traditional Scottish style melodies, with a powerful salsa back line of trombone, saxophones and rhythm section, including two congo drums and Brazilian vocals. By and large the two contrasting styles worked well together, the strident celtic melodies sitting comfortably on top of the underlying salsa rhythms. What was the most captivating was the incredible energy of the music and the musicians, the hip-swaying of the violinist soon replicated throughout the room.

The next day, Cottier’s Theatre (another converted church, done very tastefully) was the setting for a family concert featuring compositions by Lenny Sayers and performed by chamber group Daniel’s Beard, named after the rather impressive facial hair of Daniel Cottier whose portrait hangs in the bar. The pieces were delightful, the text of the nonsense poems delivered engagingly by Lenny himself, from the charming story of the Quangle Wangle’s Hat, upon which hundreds of animals take residence, to the beautifully lyrical accompaniment to The Owl and the Pussycat, where the children were invited to help tell the tale by waving a blue cloth for the sea. The audience participation continued in Stomp Like a Dinosaur — we all helped sing the chorus, then hid Lenny from the Tyrannosaurus Rex as it chased him round the hall.

In the programme notes we were told that Lenny has “developed a strong relationship with Daniel’s Beard,” a statement that appeared to be literally true when he emerged for the final poem dressed in a silly hat and a very bushy beard. ‘How Pleasant to Know Mr Lear’ completed a charmingly entertaining first half.

The concert was wrapped up with Peter and the Wolf — a wonderful rendition of the piece with Glaswegian transcript, ably read by Kaye Adams. The audience was captivated by each part of the tale, from the plucky ducky of the viola to the tweeting birdie of the violin, the stomping Grandfather cello to the clarinetist’s cat, the big bad French Horn wolf and finally Peter, our hero, who is No Feart o’ the wolf. Liz Lochhead’s translation was witty and fresh, and the performance as a whole thoroughly enjoyable.

All in all, a lovely concert and a very entertaining weekend.




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@eatsleepcycle

Guest blogger drops in...the 'bulletproof cellist' returns with a new line up!

Last year, we invited the winners of the Royal Conservatoire of Scotland's Dunbar-Gerber Prize to perform.  The Csengele Quartet turned in a cracking performance (here's what Michael Tumelty had to say about it in The Herald!).  We've repeated it with this year's winners - the Jatsszuk Ensemble - which features a familiar face from last year's group in cellist David Munn.  Here are his thoughts on making a return visit with a different group:

The story never changes, just the names and faces…

A busy first week in June is becoming something of a habit for me.  This time last year, I was sitting in sunny Aldeburgh being coached by Menahem Pressler of the Beaux Arts Trio on a piece that we, the Csengele Quartet, were due to perform the following week in Glasgow.  The piece: Schumann’s Piano Quintet in E-flat major.  The performance: Cottier’s Chamber Project 2012.

Twelve months on, I find myself preparing for the same concert series, but with a different group of musicians and a very different programme.

The RCS Játsszuk Ensemble, a group committed to performing lesser-known chamber works, is made up of current RCS students with a distinct Hungarian feel (in fact, I am the only non-Hungarian in the group!)  We have devised a programme of “Opus 1’s”, that is, the first pieces that the respective composers attributed a number to as they embarked on a professional career.

We open the concert with Frank Spedding’s Piano Quartet op. 1 (of course), written in 1951, when he was a student at the Royal College of Music in London.  Despite the sound-world being unmistakably in the 20th century, the piece conveys a distinct romantic feeling and a broad range of tone colours.

This is followed by Miklós Rózsa’s Trio Serenade op.1 (1927) for violin, viola and ‘cello.  This work displays very early signs of the composer’s subsequent career in film music, as there is real drama throughout.  In preparing this rather obscure work, we have continually viewed it ‘through the lens’ of film music, imagining what the camera might be focusing on at any given moment.

The concert concludes with Josef Suk’s über-romantic Piano Quartet (you have hopefully worked out the opus number by now).  The piece was the result of an assignment from his teacher, Antonìn Dvorák, who was so taken with the finished product that he selected it for the graduation awards concert that year.

So the personnel have changed, the programme has changed, but the excitement of performing at the Cottiers Chamber Project is just the same as last year.  As are the stressful rehearsals…

Kapten Trio - new concepts

It's been four whole days since I've blogged and I'm having major withdrawal symptoms. So I'm back with a bang and delighted to be focusing on the energetic and youthful  Kapten Trio.

Offspring of the Royal Conservatorie of Scotland, Kapten Trio are individually acclaimed prize winners but together they create wondrous, unique musical performances.

Unfortunately I have been unable to find excerpts of either Rory Boyle's 'Phaeton's Dancing Lesson' or Helena Tulve's 'Lumineux/Opaque'. How mysterious. I do however know that Lumineux/Opaque includes the professional musicians playing the ever accessible wine glass. There's hope for us all!

So onto something that I have managed to uncover from the depths of the internet, Dmitri Schostakovich's Piano Trio No. 2 Op.67. This is quite a fun piece and has a slightly Russian sound. The pizzicato contrasts with the fuller sounds of the piano. The notes are short and sharp and has giving the piece an almost spiky feel to it. I feel as though the piece represents a frantic dance of spinning movements. Notes and sequences which I would perhaps associate with folk music are prolific throughout this piece, whether played in the upbeat and quick paced movements or the slower eerily ghostly whispers. There was a great deal of substance and character to this piece. It is recognisably unique and definitely differs to much of what I have previously heard.

All in all I reckon that this performance will be unusual, fun and full of variety. I am intrigued to hear the first two pieces, particularly Tulve's wine glass creation!

Kapten Trio will perform on the 9th of June at Cottier's Theatre. To purchase tickets click here or visit the Cottier Theatre Box Office.

Cultural contrasts with Daniel's Beard and Katrina Nimmo

Another day, another concert with Daniel's Beard, accompanied by the wonderful soprano Katrina Nimmo. Variety and contrast appears to be the theme with this programme. There is beauty in every piece despite the assortment of sounds, this is a truly expressive programme.

The performance will begin with Schubert's 'Auf Dem Strom'. My initial reaction to this piece was an awareness of a rolling sound, rising and falling in equal measure. This may result from the culmination of voice, piano and horn being played with a lightness to produce quite a holistic and integrated sound. I was particularly fond of the breaks between the vocal and instrumental parts allowing for the appreciation of each sound individually and as an entirety. However, the harmonising between the vocalist and instruments at points brought a richness and clarity to the overall sound. Singing in a foreign language must be quite an accomplishment, particularly due to the different linguistic sounds and mouth shapes which are not necessarily used or even in existence in the performers mother tongue. I suppose that it makes more sense to sing a piece in the language which the composer intended due to rhythm, sound and translation.

A selection of Beethoven's Schottische Lieder is a beautiful and relevant addition to this programme. The sweet sounds of Scottish song raise a sense of patriotism in many of us and I'm not talking bagpipes here. I am astounded and puzzled to find that Beethoven produced over 30 Scottish songs, some set to the words of great poets including Burns, Sir Walter Scott and a few women including poet and playwright Joanna Baillie. All of the elements which I would associate with traditional, Scottish folk music are translated into a more sophisticated production. Perhaps it relates to the quality of the vocalist and addition of the elegant  swirl of piano but this seems to be quite a dressed up depiction of Scotland. I heard great beauty in these excerpts and would be moved to witness this performance in the settings of Cottiers Theatre.

Horn Trio Op. 40 by Brahms begun with the familiar soft lilt that were characteristic in some of Beethoven's Schottische Lieder excerpts. Yet the tone of this was far from similar to the previous piece. The second part of the Horn Trio has a wonderfully choppy character which is brimming with energy and contrasted with the interspersed long and slender notes from the violin. Moving into a much lazier speed with a despairing tone, it strikes me how much contrast exists in this diverse program. Within this piece, the highlight for me was the final segment. The violin and horn seem to speak to one another as if answering questions.

I reckon that there will be rather a lot of emotion in this performance as I felt compelled to listen closely and that was in the confines of my home. I am particularly excited by Beethoven's Schottische Lieder and the Horn Trio with it's sparks of electricity and smooth counter balance.

Daniel's Beard and Katrina Nimmo will perform on the 7th of June at the Cottier's Theatre. To purchase tickets click here or visit the Cottier Theatre Box Office.

The perfect pairing

Jean Johnson and Steven Osborne unite for the Cottier Theatre evening performance with a repertoire of Brahms and Schumann. As a member of Daniel's Beard, Jean will have her work cut out for the duration of the Chamber Project. Her husband, Steven Osborne, is one of the world's leading piano soloists and has recently won the prestigious Royal Philharmonic Society Instrumental Award. What a great partnership! I'm sure they'll be completely in tune (hee hee) with each other when it comes to performing.

I am intrigued to hear another piece of Brahms' work, this time Sonata No.1 Op. 120/1. The clarinet provides a soft lilt against the piano throughout this piece with a  delicate tone that prevails with a subtle contrast to the piano which offers a slightly heavier, weightier sound. I found this to be a pretty piece which seemed to lean in the favour of the clarinet, exhibiting the soft voice of the wind instrument. However, in Brahms' Sonata No.2 I found that the piano took centre stage, what beautiful sounds prevailed.

Schumann's piece had a different feel to it as I detected a slightly darker undertone  at the beginning of the piece, for some bizarre reason it reminded me of a slowly flowing river, there was no urgency to the music. The piece continued in much the same way, tranquil and soft. Schumann is the first female composer whom I have encountered so far, a feminine tenderness runs through the piece, though there are quite obvious similarities between this piece and Brahms' Sonata.

Combining the clarinet and piano is like tea and cake - they just work well together. The gentle and almost effortless sound which was produced had a graceful  and refined air, I was captivated.

Jean Johnson and Steven Osborne will perform at Cottier's Theatre on the 6th of June. To purchase tickets click here or visit the Cottier Theatre Box Office.

Concerto Caledonia and Rachel Podger

The choice of repertoire for Concerto Caledonia and Rachel Podger's concert on the 6th of June is outstandingly angelic and beautiful. Light and delicate harmonies swayed me into a state of serenity, such a great start to my day! I am very much aware that this concert will be packed to the rafters with professionals and fans, who will take this opportunity to witness the talents of these unique artists.

I have already looked into Concerto Caledonia who specialise in resurrecting early and traditional music which has often been forgotten or lost to the pages of history. Rachel Podger, who will be accompanying the ensemble, is regarded as a bit of a genius when it comes to Baroque music. She is known for her interpretation of the music and her unique creative vision. Having fronted numerous prestigious chamber ensembles and orchestras she continues to be involved with various and projects and teaches, that's one busy lady!

I have definitely heard of Henry Purcell but wouldn't have been able to match his music and name. Images show that he wore quite distinguished wigs so Such magnificent composition is not to be forgotten though, I particularly enjoyed listening to all three of the pieces which will be performed - the Suite from 'Dioclesian', the Suite from 'The Fairy Queen' and Fantazias. There is a  ethereal feel to these pieces, they seem to be stereotypical of Baroque music. The music had a great deal of character which ties in with Purcells career which included writing music for plays.

Locke's The Tempest, is packed to the brim with dramatic flourishes and crescendos. The tempo seems perfect for dancing to and my imagination drifts into a daydream full of Lords and Ladies joining in dance. There was more joviality to this piece than the others. The Consort of Four Parts was a little more reserved and seemed to be a piece designed simply for listening purposes. This was an attractive piece but didn't have the excitement or energy of The Tempest.

Last but not least was the energetic and upbeat Bizarrie all'Umor Scozzese from Nicola Matteis. This had a colourfulness  and gaiety to it and was more of a youthful piece of music than the others. I struggled to find the track, it must be characteristic of Concerto Caledonia's repertoire. Good job it's being played during the Cottier Chamber Project as I found it to be a fun and merry choice.

Concerto Caledonia and Rachel Podger will be performing at Cottier's Theatre on the 6th of June. To purchase tickets click here or visit the Cottier Theatre Box Office.

Photo of Concerto Caledonia by Alex Woodward

Striking strings

Glasgow String Quartet are the type of musicians who have  many strings to their bow (excuse the pun!). As well as playing in their own ensemble they are the principle players in the Royal Scottish National Orchestra, how fancy! There is clearly a lot of talent here and their repertoire is composed of two of the most iconic quartets in the twentieth century. I wonder if I will recognise the music to hear as I have found the titles of chamber music pieces to often be quite scientific in their approach.

First off is Leos Janacek's String Quartet No.1 'Kreutzer Sonata'. I found this piece to be quite dramatic and passionate with a lot of crescendos and unusual sounds. There are elements which have an almost metallic, scratchy tone which are contrasted with long drawn out elegant strokes which seems to be a defining feature of this piece. I have to be honest and say that when I heard the scratchy sounds I was welcoming the smooth comfort of the lighter playing. The menacing high pitched, fast paced screech haunts throughout the piece against the backdrop of a calmer, fluid part.

Dmitri Shostakovich's String Quartet No.3 Op.73 had a similar jumpiness to the first piece. The different parts produced an interesting clash at times. The cello has real power in this piece and sounds great when teamed with pizzicato. Tempo changes are regular in this piece and there is a sense of gathering energy throughout. Power and contrast seem to be of the essence in Shostakovich's quartet.

This may be one of the concerts that have as much visual impact as they do musical. Who wouldn't be drawn into the twists and turns of these two unusual pieces being played by professionals at the top of their game?

The Glasgow String Quartet will perform at Cottier's Theatre on the 5th of June. To purchase tickets click here or visit the Cottier Theatre Box Office.

Photo by Jane Reid.

Athenaeum Winds - ones to watch

Composed of five students from the Royal Conservatoire of Scotland, it is safe to say that Athenaeum Winds have had a lot going on recently. They have performed as part of the Cultural Olympics, played several concerts with the RCS and have represented the National Youth Orchestra of Scotland. Now in the second year of their residency program with Enterprise Music Scotland you will no doubt hear and see a lot more of them during their upcoming tour of Scotland.

I haven't encountered a wind ensemble yet, pre-expectations are that there will be a light and airy quality to the sounds that they produce and that there will be quite and energetic speed to the chosen pieces. Lets see.....

Athenaeum have chosen to begin with Gyorgy Ligeti's Six Bagatelles, having listened, this seems to translate as six short excerpts. Variety seems key with this particular piece. Beginning with quite a sharp sounding sense of urgency the piece evolves to evoke an almost threatening tone. As a listener I felt a sense of suspense, awaiting the next instalment, almost like the frustrating cliffhanger in your favourite soap. The suspense leads to a pleasant raindrop like sound with a definite lightness that I had pre-empted prior to listening. I'm taken by surprise to hear an off-beat springiness which doesn't seem to follow on from the rest of the piece, it almost seems to belong to a different time and sounds quite South American. The end of the piece absorbs a certain depth with a dramatic edginess, again rousing tension which seems an unusual way to close this chapter.

Beginning as a light and pretty piece, with a delicate elegance, Maurice Ravel's Tombeau de Couperin, soon takes on a jazzy characteristics full of texture and layers. There are different faces to the small segmental components of this piece, really exhibiting the versatility of the players. Ravel takes us from the uplifting sounds of future promise to slow, sultry calm. Tombeau de Couperin finishes with a jumpy, excitable tone, demonstrating the diverse nature of this piece.

Mississippi Five by Jim Parker is definitely my favourite. As a tap dancer I seriously wanted to stand up and shuffle away, someone will have to hold me back at the performance. This is pure 1920s jazz. I felt drawn to investigate and discovered that Parker, who writes many film and TV scores, is one of these sought after 'living composers' who I have heard mentioned from time to time in the chamber music world. This will provide an interesting mix into the equation of what is to be a well-rounded repertoire.

Athenaeum Winds are heading for big things so see them now in the youth of their career before they head off on world tours!

Athenaeum Winds will perform on the 5th of June at Cottier's Theatre. You can purchase tickets here or visit the Cottier Theatre Box Office.

Bailey and Kitchen

Another lunchtime journey through history and back again in time to answer your afternoon emails. Who would have though time travel could be so simple? This particular concert, part of the University of Glasgow lunchtime series, features the romantic flush (descriptive word of the day) of the harpsichord and the velvety tones of the cello. Edinburgh Quartet member, Mark Bailey is a success in his own right having performed throughout Europe as a soloist. He now teaches and lectures in chamber music throughout Scotland while continuing to perform with the EQ. John Kitchen, a senior lecturer in music at The University of Edinburgh, has travelled the world as a soloist and is regarded as an expert in his field as a Baroque keyboard player having recorded with Priory and Delphian Records.

As my regular readers will know I am not familiar with many of the composers who appear in the Cottier Chamber Project series. Bach, however is a household name and before I even begin to listen I have a feeling that this will be a programme that is rather definitive of chamber music.

We begin with Sonata in G BWV 1027. This such an elegant and majestic piece full of beauty and serenity. With light vibrato and the depth added my the cello I might say that this piece almost soars. The middle of the piece (Allegro ma non tanto), although faster still produces a rather sweet sound. The final note is wonderfully drawn out and adds to the ease of the piece, there is a definite air of effortlessness.

Moving into the Sonata in D BWV 1028 and things get a little more complex. I felt there was more intricacy of movement between notes in this piece and there was a slightly darker spirit throughout with particular prominence in the Andante which seemed to be the focal section of this piece. The harpsichord really comes into it's own in parts of the Sonata in D whereas the Sonata in G seems to highlight the cello.

Sonata in G minor BWV 1029, sounds quite familiar, perhaps it is quite characteristic of chamber music during the focal period of this performance, 1650-1750. I have found this particular piece to have more energy. The harpsichord is played at some speed, pretty amazing skills must be required for this piece. I have noticed that the instruments never play the same part, the music links together nicely, producing a lightness of tone without the clashes that seem more characteristic of modern chamber music.

I enjoyed the relative tranquillity of this repertoire and found it interesting to hear three different pieces of music by the same composer. Although they were rather different and provoked a variety of emotions there were some consistent characteristics between all three.

Mark Bailey and John Kitchen will perform on the 5th of June at the University of Glasgow Memorial Chapel, part of the ongoing Lunchtime Concert Series. You can purchase tickets here or from the Cottier Theatre Box Office.

#beardlikedaniel

This is one of seven concerts which host ensemble Daniel's Beard will perform during the series. Taking their name from the architect who designed the Cottier Theatre, they reinforce the prominent #beardwatch which has come to be synonymous with the project.

Versatility and a broad repertoire are the name of the game with this 8 person ensemble of professional musicians playing a leading role on the Scottish classical music scene. Drafting  in additional musicians to alter and enhance their sound, the phrase 'music of friends' is at the heart of this ensemble.

This concert witnesses a particularly folky influence and is composed of music which has been undeservedly overlooked before being given a new lease of life in time for the West End Festival.

Beginning with Paul Hindemith's Clarinet Quartet Op. 30 I immediately feel as though I have been thrust into an air full of insects in the height of summer. I have come to find that when listening to  particular pieces of  chamber music I encounter a strong sense of being transported to a very specific scenario or environment. This feeling of claustrophobia soon gives way to calmer, easygoing sound. Wow, just when I was drifting off into a spell of relaxation I am hit with a rush of noise which grows into a powerful crescendo of strings with repetition of the clarinets part. This pattern of calm and ensues leaving me with a feeling of slight disorientation and confusion.

The Piano Trio No. 1 H.193 Bohuslav Martinu is, if I am correct, split into 5 short segments which break up the piece into a variety of showcases, I felt particularly drawn to this, which was a slow, romantic piece with the strings taking centre stage. Each burst seems at odds with the previous and when split up the variation is a lot more tangible. I enjoyed listening to chamber music under this model.

Last but by no means least, my favourite piece of the program, Aram Khachaturian's Trio for Clarinet, Violin and Piano. This piece had an almost mystical edge to it and the clarinet really triumphed in the 'show off'' stakes! The strings almost seemed to sing alongside the deeper tones of the clarinet. I felt that there was a softness to this piece which will give variance to the overall performance.

It will be interesting to see the variety in the Daniel's Beard performances throughout the series in terms of both musicians and choice of music. There is a lot more to come from this ensemble.

Daniel's Beard will perform at the Cottier's Theatre on the 4th of June. To purchase tickets click here or visit the Cottier Theatre Box Office.

Back to life

Reading that this is a concert that should appeal to the geeks of the music world intimated me slightly, the naive newbie. I have quickly gotten over these feeling having sampled the music of some of the composers who will appear in Concerto Caledonia's lunchtime concert program in collaboration with the University of Glasgow.

Concerto Caledonia, specialise in the early and classical music of Scotland. With numerous CDs behind them the group have been awarded Sunday Times Record of the Year for their album Mungrel and regularly perform on BBC3. As part of our lunch time series they will explore elusive British music, dating from 1550 to 1650, featuring music by Tobias Hume, Orlando Gibbons and John Jenkins.

My initial reaction to this music was that there was a lot of movement between high and low notes, it is not so much jumpy as slightly detached. There are so many historical references, for example, the work of Hume contains some interesting titles, 'Tobacco, sing sweetly for tobacco'. The tracks which I listened to composed by Orlando Gibbons sounded as though they were played by some sort of sitar. This instrument, whatever it may be, had a very distinct, medieval sort sound to it with an almost metallic tone. It sounded similar to something which you might hear in a Royal Court. The works of John Jenkins seem slightly more modern and have more in common with pieces which I have previously heard. What I noticed was that  many of the pieces had 'Fantasia' in their titles. I have discovered that this refers to improvisation during the renaissance period and that a characterisation of this style was change in tempo and clashes of harmony.

In addition to these composers, works from anonymous musicians will also be performed. This is quite a charming touch in the sense that music ,which might otherwise have been lost to history, is being revived in fabulous venues to be played by talented musicians to an appreciative audience. Concerto Caledonia really do perform in context using instruments not found in modern music. I imagine that the venue will serve to heighten the atmosphere and transport the audience back to another era.

Concerto Caledonia will perform at the University of Glasgow Memorial Chapel on the 4th of June. To purchase tickets click here or visit the Cottier Theatre Box Office.

Distinguished Brass

Successful and distinguished musicians just keep on coming out of the framework with the Cottier Chamber Project series and this is particularly apparent in the collaboration of Alba Brass and John Wallace, trumpet and cornet soloist .

Alba Brass are a brass quintet from Scotland who have been touring since 2004 and have a broad repertoire of genres under their belts fusing jazz, folk and vocal elements to produce a diverse and variable sound. John Wallace is described as a 'Scottish musical legend' and has an impressive CV to prove it. The Principal of the Royal Conservatoire has played with the prestigious London Symphony Orchestra as well as playing principal trumpet in the Philharmonia Orchestra, not to mention having written and edited books - wow!

The opening piece for this concert is Victor Ewald's Quintet No.3 in D flat major Op.7 (quite a mouthful). This piece has a lot of variety in it, there is a slight darkness which quickly resembles a march. I love the sound of the brass, the tone of it makes me feel quite happy and it has an almost regal edge to it, most likely through association.

Next on the agenda is Shorthand of emotion by Ryan Quigley, an elusive piece which I just couldn't find when searching online. I have a feeling that it might take on a jazzy edge having listened to some of Quigley's recordings. I am intrigued to discover what it will bring to the equation

There are some menacing moments in Sextet in E flat minor by Oskar Bohme. I particularly enjoyed the crescendos and the texture which seemed to be a defining feature of the piece. This was probably my favourite piece of the two which I have listened to as it seems to have more substance to it but I suppose that may just depend upon the players!

Alba Brass and John Wallace will perform at the Cottier's theatre on the 3rd of June. You can purchase tickets here or from the Cottier's Theatre Box Office.

Music played by friends

A running theme which I have encountered during my experiences of chamber music is the significance in the role of 'friends'. Due to the small-scale set up I imagine that the majority of people attending and preforming in chamber music groups were generally acquainted. The ensemble which I am looking into today is a prime example of the sociable nature of this musical genre.

Playing Schubert's Piano Trio in E flat D.929 are pianist Alasdair Beatson, violinist Alexander Janiczek  and cellist Philip Higham  who made the decision to perform together as good friends and regulars of the chamber scene. I imagine that they will have performed together many times and be very aware of the individual styles which merge to produce an exceptional trio with compatibility and mutual understanding. From an outsider perspective I cannot imagine that such complex and intricate music could be performed by passive and disengaged parties. Group dynamics seem to be essential.

Upon listening to this I was initially struck by the focus of the piano. Yes, I am aware that the title is piano trio but the majority of the pieces which I have encountered so far have been centred around strings and wind instruments so I found this to be a nice change. This was an attractive, light piece which flowed beautifully. There was quite a quick pace, highlighting the dexterity of the pianist, again, this seems quite obvious as it is a piano based piece, nevertheless, it appealed to me as I hadn't come across anything similar. Towards the end the piece becomes choppier and more detached, with what seems to be more focus upon the stringed instruments. There is a liveliness throughout and I found the piano trio to be an upbeat and animated piece. I have leaned that this was one of the last pieces that Schubert wrote before his death so there is a lifetime of knowledge and experience behind the notes which are played.

Beatson was critically acclaimed as being "one of the best chamber music pianists in the business" by Herald critic, Michael Tumelty, following his performance as last years Cottier Chamber Project. This is one for the diary and should prompt further rave reviews for the 'band of friends'.

Beatson, Janiczek and Higham will perform at the Cottier's Theatre on the 3rd of May. You can purchase tickets here or from the Cottier Theatre Box Office.

Divine intervention

The power and dexterity of the human voice has taken a dominant role in social constructs for hundreds of years and has played a particularly prominent role in religion as a means of expression, with many emotive pieces originating from the Renaissance period. The Royal Conservatoire of Scotland Singers, composed of Gemma Summerfield, Lynn Bellamy, James Slimings and Colin Murray,  take us through a selected program of majestic song.

I have found there to be great beauty in the works of Renaissance composers who created spellbinding polyphonic (thanks for the definition assistance wikipedia) masterpieces, produced to flaunt the graceful ability of singers. I noticed that many of the recordings sounded as though they may have been produced in churches, the acoustics were incredible and really sounded like they were being performed in the 1450s in a style intended by the composers. Hearing  the work of Josquin des Prez, Johannes Ockeghem and Heinrich Issac swept me into a state of complete relaxation, who needs a spa day when you have Choral Music. (Offers of pre-paid spa weekends are welcome!)

My favourite pieces of the haul selected by the Royal Conservatoire of Scotland Singers were 'Nympes des bois', 'Alma Redemptoris Mater' , 'Scaramella' and 'El Grillo' . I was particularly drawn to the first two as the musicians seemed to produce a holistic sound which had a fullness and density drawn from the variety and depth of voice. There was contrast of sound but it was soft and gentle, culminating to produce an airy, weightless style.

Scaramella, was an interesting piece nestled between these two, it had a jolly, crisp feel to it which I hadn't expected given the prior offerings.  'El Grillo' had a similar theme, I would be intrigued to see the physical expression of the musicians for this piece, more than others.

Though it was pleasant to listen to these snapshots of what is to come from the comfort of my home I do feel that they would be better live. I would prefer to experience this performance within the context for which it was intended. The Glasgow Memorial Chapel is a breathtaking building  with incredible stained glass windows, high ceilings and an airy atmosphere providing a wonderful backdrop for this concert.

The RCS Singers will perform at the University of Glasgow Memorial Chapel on the 3rd of June. For tickets click here or visit the Cottier's Theatre Box Office

There's something wiffling in the Tulgey Wood...

Hello!  I thought I'd hijack Rosie's blog and add something about the family concert and workshop which fills in the spare hours of the opening weekend.  Rosie flatteringly described me as the 'head honcho' in her opening post - as well as co-ordinating The Cottier Chamber Project, I also play the horn in the host group, Daniel's Beard (what a stupid name for a classical music group...).

We've got 2 things happening in the opening weekend, which are linked together.  The first is a workshop for  children and parents (around the P5-7 mark) which is going to involve composing some new pieces.  In our family concert the following day, we'll be playing Complete Nonsense by Lenny Sayers.  It's a selection of Nonsense Poems by Edward Lear and Lewis Carroll, so our plan is write some more to go along with them.  I don't want to give too much away about it, but if you have a taste for adventure, danger and a bit of a swashbuckle, then this is for you!

We've done the workshop a few times now - once in last year's Aye Write Festival and 4 times up in Aberdeenshire for the Sound Festival, and it's great fun for us as well. It's amazing to see people letting their imaginations loose, in much the same way as Edward Lear and Lewis Carroll did, and results are amazing!  Some groups have written music, others gone for a graphic score type idea, others for something completely off-the-wall.  Some have played along, others sung or chanted - there aren't really any boundaries.  You don't have to learn an instrument (though if you do, bring it along) or feel that you're especially musically talented - as long as you're up for a challenge then all will be well!  And that goes for adults as well...

The concert will start off with a performance of Complete Nonsense, including the new pieces that were written in the workshop - this could be a good way to snag yourself a world premiere!  Lenny's music for the poems is brilliant - you can have a listen to three of them here (The Quangle-Wangle's Hat, Jabberwocky and The Owl and the Pussycat) and the new ones are brilliant.  We'll finish the concert with an arrangement of Prokofiev's Peter and the Wolf, which is one of those pieces that can't fail to put a smile on your face.  We've got a bit of a celebrity turn here, with Kaye Adams joining us as the narrator.  There may even be a prize for the best wolf costume...!

It's the type of concert programme that can be though of as a 'children's concert', but we reckon that it's really for anyone of any age.  Think back to those poems, or to hearing Peter and the Wolf as a child - that wee moment of nostalgia and a little smile...that's what we're after!

The workshop will be held in Rockmount Nursery from 11-2 on Saturday 1st (but we'll meet over at Cottier's) - it's free, but places are limited, so book a ticket here.  And bring some lunch!  It will be worth staying on for Karel Dohnal's Stockhausen as well.

The concert is on Sunday 2nd at 2pm in Cottier's.  Any children performing will be free!

Hope to see you there!

Andy

PS I've got my wolf costume ready....

Clarinet Factory

The heady music which Clarinet Factory offer seems to have an almost mystical quality, music that tells a story through intonation, tempo and character. I've only listened to a few snippets, what I did discover was captivating. Changes in speed served to heighten my enjoyment of their music, giving real character to the music and highlighting the variety of musical influence in their performance. To me the music had an almost Spanish taste which I can imagine is unusual in jazz. Clarinet Factory often incorporate  voice into their music, which adding another dimension to their sultry tones. Flying a flag for world music, the ensemble blend ethno and jazz music to produce a unique crossover production which doesn't follow the rules of traditional chamber music. The integration of genres is one of the key features of the group and it seems to be the heartbeat of their sound

Recognition of Clarinet Factory's achievements is world wide. They have toured throughout Europe and won the Instrumental Category in the International Song Writing Competition, a prestigious global event in 2005.

I've come across yet another ensemble working 'outside the box' to produce music which tests and challenges the boundaries of traditional chamber music in the form of Clarinet Factory. I really enjoyed the short sample of their music, it is not a style which I would usually come across but I delighted in listening and seeked out more snippets online. It just goes to show that it is definitely worth taking a risk and buying a ticket for a performance that might not be your usual choice. Life's to short not to broaden your horizons.


Clarinet Factory will play at Cottier's Theatre on the 2nd of June. You can purchase tickets here or from the Cottier's Theatre Box Office

The Harlequin - Karel Dohnal

Karel Dohnal takes on quite a challenge when he performs Stockhausen's Harlquin. The piece incorporates music and physical performance as the instrumentalist acts out the role of 'harlequin', a character from the 'Commedia dell'arte' more commonly known today as a clown with a talent for acrobatics the harlequin is the entertainer of his master who often uses his talents to try to woo the ladies...

The performance has a great deal of comic value . Though not a clarinet player myself I am astounded by Dohnal's ability to play while spinning around in circles on one leg and cannot imagine that this is an easy project to take on. I wonder whether he practises movement and playing at the same time before putting both aspects together or simply jumps in at the deep end? In addition to his physical movements, Dohnal's facial expressions and eye contact with the audience are captivating. Those observing the charismatic performance can't help but engage with the performance through laughter and admiration at his multi-tasking abilities.

Stockhausen, the composer and creator of Harlquin, is cited as "one of the great visionaries of 20th-century music". Pioneering electronic music, the work of Stockhausen has had a great impact on jazz and pop music. His face even appears on the album cover of The Beatles 'Sgt. Pepper's Lonely Hearts Club Band' album cover. There is considerable variation in his work, ranging from compositions for musical boxes to a pieces of music for three orchestras. One of his more eccentric pieces for a string quartet required a helicopter for each musician! It seems that Stockhausen really pushed the boundaries in regard to the definition of Chamber Music, for me it seems more like a piece of installation art performance than simply a concert. Described as groundbreaking and controversial, Stockhausen has re-defined the borders between different art forms.

This would be a great 'introduction' to chamber music concert, particularly for a younger audience due to the mime art which takes place throughout and the interaction between audience and performer. It is fine to laugh and I'm sure the performance will be at variance with how I might traditionally characterise a chamber music concert.

Karel Dohnal will perform on the 1st of June at the Cottier's Theatre. Tickets are available by clicking here or from the Cottier Theatre Box Office.

Party Central with Salsa Celtica and PaCoRa Trio

I want to be at this concert right now! With latin beats and folk twists this is an exciting and Saturday night worthy concert which you simply must attend.

Now this is definately my kind of thing! Salsa Celtica. Both unique and cool, as soon as you walk through the doors to their Cottier Chamber Project gig  you will be transported into another world.

Salsa Celtica, think Latin American song mixed into a great big portion of Celtic fiddle, add 11 superb musicians with a hint of diversity and there you have it. Bringing a sexy edge to Celtic Music and the Cottier Chamber Project. This needs to be experienced to be understood.

With 5 albums behind them and a recording session due following the Cottier Chamber Project gig, it is no surprise that Salsa Celtica have a huge following and world-wide recognition as being at the top of the game when it comes to traditional fusion music.

I have always been drawn to Celtic Music and Salsa Celtica is no different. I would go as far as to say that it lifts the soul. I can imagine that there would be a great deal of audience interaction at their performances as you can't help but sway along (would dancing be permitted at one of their gigs?).

The presence of vocalists adds, not only an edge to the musical aspect of Salsa Celtica but a visual pleasure as they move to the beats, encapsulating the senses. I love the sharp flash of the brass against the lilt of the fiddles, the way in which they play sounds like the musical styles have always been combined to make this incredibly upbeat sound. I find myself listening closely for the unique tones of Celtic music amongst the Salsa, but the diversity is hard to spot as the composition is so seamless creating a colourful, sprightly World Music extravaganza.

As soon as I clicked on the links to hear some snapshots of PaCoRa Trio my feet were tapping and I just couldn't stop.

PaCoRa are a folk and jazz fusion collective from Slovakia and Moldovia, taking musical influence from their native countries and producing an energising and fun sound incorporating key elements of jazz with some exciting tempos and range of sounds achieved through the unusual combination of genres to produce an organic, laid back (despite the speed!) and effortless sort of sound.

The marriage of the sounds is completely seamless and it would be impossible to categorise these performers under a particular heading other than World Music. The music effortlessly slides between jazz and folk with the other providing a snappy undertone throughout. It is interesting to note that the majority of musical snippets which I listened to were written by the trio, what is more interesting is that these are often reworked to allow the group to perform their pieces with orchestras, I can only imagine that this must produce a very distinct and enjoyable sound.

I know that it is a complete cliche but the music from PaCoRa Trio transported me to a 1920s Jazz bar and kept my head bopping throughout, be it to their quicker paces or slower more traditional sounds. I was captivated throughout and can imagine that their concert would be a fun and unique way to spend a June evening.

Salsa Celtica and PaCoRa Trio will play on the 1st of June at Oran Mor. Tickets available by clicking here or at the Cottier's Theatre Box Office.

Pavel Haas Quartet

So I've had quite an intense morning of listening in order to gain an insight into the pieces that the Pavel Haas Quartet will be playing on the 31st of May, the opening concert of the Cottier Chamber series which should really get things off to a bang.

The Pavel Haas quartet really stand out as an edgy and fresh looking group of young musicians who have been working under Glasgow's artists in residency program for the last 3 years having previously toured throughout the globe. They have received a number of prestigious awards including Best Newcomer by the BBC Music Magazine Awards jury as well as a Gramaphone Award in the Chamber Music category for their most recent album.

As I have already confessed, I am no master of chamber music so my descriptions of what I heard are completely genuine, earnest and sincere.

The quartet will open with Brahms, String Quartet No.2 Op.51/2. The piece is around 30 minutes long, I'm not accustomed to listening to a track music for much longer than 4 minutes which made me slightly wary of the monster which I was about to unleash in the form of youtube. It is amazing how quickly time flies when you enjoy something, I was engaged with the music and fell into an almost hypnotic state of concentration. The piece began very slowly and softly, gradually picking up in speed and volume. I felt that the music was growing around itself, almost in the way that a garden might grow, layers on layers. There are returns to a more peaceful sound and then sudden, unexpected jumps back to a faster tempo. This really keeps you entranced and waiting for the next surprise. Brahms then goes on to present us with a much darker sound which I find, adversely, more beautiful and somewhat serene. The instruments seem more balanced and in-sync producing a good contrast to the restlessness which is heard at the beginning of the piece. By this stage I am not surprised to hear yet another different and unique sound which seems to be a defining characteristic of this piece by Brahms. As the tone switches quite suddenly to produce an almost aggressive noise full of short snappy sequences I feel re-engaged, the music seems to re-awaken from the earlier lull. This sets the tone for a dramatic and exciting ending, which for me is the icing on the cake. The zealous climax of short strokes and repetition conclude a varied and magnetic piece of music. I do feel that watching professional musicians would intensify and heighten the experience, particularly due to the contrasts of speed and tone throughout.

Next on the agenda is Beethoven's String Quartet Op.130. If I had been daunted by the 30 minute monster which was Brahms then Beethoven's String Quartet was more like the Cracken at around 50 minutes long. As you may have noticed with my first review I have a tendency to split the piece into 'sections' which appeals to me as a Chamber Music novice. The piece feels more digestible and there is an almost organic beginning and conclusion to certain sounds which when grouped is easier to understand and absorb in a longer piece. So back to the music in hand. The String Quartet begins at quite a slow pace with lots of depth and and weight which doesn't last long as the instruments soon launch into a quick paced phrase full of embellishment and texture. I suppose that I might say that there is a great contrast between dark and light and that I might compare the music to an artist painting a picture, adding layers and colour. The characteristics of the next portion are quite unique in the piece. For some reason I am immediately reminded of a little bird taking flight, there is a lot of flitting about between notes and the quick speed has a darting quality to it. I am conscious of a slight menacing undertone which darkens the music only slightly. As we move on I am re-united with a 'stereotypical' example of chamber music. I am immediately transported to a grand ball. To my ears, this is music to dance to, and not what I expected to hear within this piece when contrasted with initial impressions. I do however enjoy this 'interlude'. As I listened I jotted some ideas down, the words in my notebook to describe the next phrase are 'slightly mental'. In deafens of my  characterisation of Beethoven's music, there are many contrasting sounds played using short, sharp notes. I think that the best way for me to enjoy this was to take it for what it is and simply listen. The piece concludes with a softer more cohesive sound which does highlight the contrast and distinct quality which is apparent throughout this piece. The highlight of the piece, for me, were the faster segments as there is a slight air of menace wavering in the background. Clever use of variation and expressive playing draws the listener into the piece. As I type this up I wonder how other listeners might interpret this piece from different perspectives.

And to conclude the Pavel Haas quartet will perform Beethoven's Grosse Fugue Opp. 133. I found this to be a very different to the previous two pieces which I have listened to as it is more holistic in itself. I had the pre-conception that the music would split into comprehensible chunks, instead it was quite similar throughout. There were a lot of different sounds and despite the musicians playing such conflicting sounds the overall result was incredibly cohesive and merged amazingly. So much time, concentration and energy must go in to performing all of the pieces, but as a listener it is the Grosse Fugue which really highlighted how essential group dynamics must be in Chamber Music.

Pavel Haas will play at the University of Glasgow Memorial Chapel on the 31st of May, tickets available by clicking here.

The first notes....

Hello and welcome to the shiny new Cottiers Chamber Project blog. You might already know about the Chamber Music project or could have stumbled across this on a random google search (other search engines are available!). Either way I'm pleased that you've decided to read...

I should probably start by introducing myself. My name's Rosie, I'm 26 and have recently started doing some work experience with the Cottier Chamber Project. My details were passed on to head honcho Andy Saunders who was enthusiastic about giving me an insight into the work that goes in to organising and running a series of concerts taking place during Glasgow's West End Festival (#WEF13 for all the twitter fans out there) from the 31st of May to the 14th of June 2013.

My initial thought when discovering that I would be doing some work experience with the the Cottier Chamber Project was the memory of a standard grade music class. The definition of chamber music as 'music to be played in a room by a small group of musicians' has remained in a random knowledge box in my brain for the last 11 years. My impression of the musical genre has always been romanticised with imagery of wigged men in fine, baroque clothing, in the calm and luxurious setting of an 18^th century country manor, how outdated and naive I am. Not only can chamber music be produced in an incredibly current and modern way, it can be very energetic or relaxing and can fit to a variety of contexts.

Classical music is not something that I am particularly familiar with but I am really excited by the prospect of interacting with professionals, enthusiasts and novices alike. Chamber music is something that I probably experience on a day-to-day basis but fail to notice. Having begun working with the Project I am instantly more conscious of the musical genre and have already begun to appreciate how much emotion and feeling is gained from listening. From a novice perspective at this stage in my involvement with Classical Music I might initially describe it as 'music to live to'. 

 

By the end of my period of work experience I hope to have gained an understanding and appreciation of Chamber Music and to have played a  part in a project which succeeds in  opening the musical genre up to new audiences of all ages and backgrounds.