Fri 16 Sep 19.00-23.00h
Curated by Linda Hirst, Head of Voice and Peter Tuite, Head of Piano and Keyboard Instruments
Sound Design by Theo Finkel
19.00h Performances on the Laban Lawn / Ramp / Into the Theatre
Trumpet Natalie Mellers
Trumpet Ella Vickers
Horn Freya Gillon
Trombone Vanessa Ritchie-Suarez
Bass Trombone Anna Brown
James Maynard Fanfare for Brass Quintet
Composed as a last minute fanfare needed at a concert, Maynard's Fanfare for Brass Quintet consists of a strong rhythmic unison opening and a build up to a loud finale as the climax of the piece. It is an ideal short piece for any brass quintet to play at a celebratory event.
Alan Civil Tarandtango (Dance Suite)
Civil was a fine Horn Player and his Dance Suite is often performed as a set of short yet challenging pieces. The final movement of this suite cleverly combines two dances; the energetic tarantella and the elegant tango, resulting in an exciting and virtuoso finale.
A Day in the Life Choir
Conductor Sam Jewison
Delius To Be Sung of a Summer Night on the Water
Solo: Matthew Norriss
Grainger Brigg Fair
Solo: Sam Jewison
David Le Prevost
Repertoire note by Sam Jewison
It has been nothing short of a joy getting to know these two gems of the twentieth century choral canon. Delius's To Be Sung of a Summer Night on the Water, original written for the Oriana Madrigal Society, is utterly transcendental in its seeming simplicity. Yet, once you scratch beneath the surface, particularly in the spritely second movement, a richness of complexity is found that makes full demands on the choir. Furthermore, the absence of text in both movements challenges the singers to capture distinctive moods using the purity of the music alone: it is only the tenor soloist who is granted the words "fa la la". This is reflected in Percy Grainger's Brigg Fair, where he employs a tenor to sing the folk song, accompanied by the choir who hum in the manner of muted strings. It is again testimony to the composer that from the transcription of a simple refrain in Lancashire, such a harmonically captivating piece was conceived. Contrary to Delius, Grainger makes full use of the choir in the middle of the piece with the verse, "for its meeting is a pleasure", set in sumptuously romantic harmony – a real moment for the ensemble to shimmer! The pieces in this programme have a musical companionship that reflects the personal friendship of both composers: a wonderfully complementary celebration of romantic choral music.
In & out & roundabout
Choreographed by Lizzi Kew-Ross, devised with the dancers
Lizzi Virginia Poli
Olive Eva Hardy
Dancers welcome you into the different spaces, engaging with the audience outside the building, on the ramp and into the theatre. And then joining in with the musicians traditional – often un-seen – warm up, creating a different way of beginning a concert.
19.30h Performances in the Laban Theatre
A Day in the Life Orchestra
Excerpts from Manuel de Falla El amor brujo
Conductor Jonathan Tilbrook
Mezzo Soprano Georgia Mae Bishop
Raquel Martinez Macias
Wilmien Janse van Rensburg
Beatriz Carbonell Granada
Cristina Cooper Puebla
Jasmine Andrews Tipper
Neus Peris Ferrer
Selection from El amor brujo (Love, the magician)
Programme note by Jonathan Tilbrook
In the cave – Night-time
Song of a broken heart
The Apparition and Dance of Terror
The Magic Circle (The Fisherman’s story)
Midnight – The Spells
Ritual Fire Dance – To drive away evil spirits
Song of the Will-o’-the-Wisp
Finale – The Bells of Dawn
Falla’s ‘cante jondo’ (lit. ‘deep song’), or gitanería (gypsy piece), El amor brujo, was born of the composer’s profound fascination and love for the region of Andalucia, and is one of many pieces, in a range of genres, celebrating this affection. The work came into being as a result of a collaboration with the librettist María Martínez Sierra, who had already worked with a number of other Spanish composers, and with whom Falla set up the Teatro Eslava in Madrid in 1916. The first version of El amor brujo dates from 1914-15, and subsequently the piece appeared in no fewer than eight further versions (featuring a range of different orchestrations, and alterations to the structure of the plot), culminating in the one act ballet, premiered in Paris in1925, as performed this evening. The score is remarkable for its exemplary control and imagination in handling orchestral sonority, its evocative colours and atmospheres being achieved with only modest instrumental forces, and without recourse to mere effect. (ã Chester Music)
Candelas, a beautiful young woman, is prevented from returning the passionate love of Carmelo, a handsome, gallant man, by the ghost of a faithless wicked gypsy whom she once loved. Carmelo persuades Lucia, a friend of Candelas, to act as decoy and distract the ghost while he convinces Candelas of his true love and they exchange the kiss that breaks the evil spell.
Song of a Broken Heart
Ay! I don't know what I feel,
I don't know what happens to me
When this accursed gypsy's away.
Only Hell's fire burns hotter
Than all my blood burning with jealousy!
Ay! When there are rumours, what could they mean? Ay!
For the love of another, he forgets me! Ay!
When the fire burns, When the rumours start . . .
If they cannot kill the fire,
Suffering condemns me!
Love poisons me!
Sorrow kills me!
Song of the Will-o'-the-Wisp
Like the will-o'-the-wisp,
The very same is to love.
Like the will-o'-the wisp,
The very same is to love.
You run from if, and it follows you,
You call it, and it runs away.
Like the will-o'-the-wisp,
The very same is to love.
Accursed the dark eyes
That succeeded in seeing him!
Accursed the saddened heart
That wanted to burn in his flame!
Like the will-o'-the-wisp
Love vanishes the same.
Finale: The Bells of Dawn
Dawn is breaking!
Sing, bells, sing!
That my glory is returned!
Jagoda Szmytka Feldman Transit
Viola Stephen Upshaw
Composer Jagoda Szmytka and violist Stephen Upshaw were recently invited to create an hour long multi-media performance at the Aix-en-Provence Festival entitled "Voilà, That's My Life!" – an exploration of contemporary Internet culture through video and sound installation. Feldman Transit is a short excerpt from this larger piece. Taking inspiration from Morton Feldman's The Viola In My Life, Szmytka has taken a simple viola line and its piano accompaniment and transformed it into 6 variations, with the piano morphing into airport sounds, trains and white noise and the viola responding accordingly, representing our present-day sense of constant travel, transit and rootlessness.
From Rio to Deptford, With Love
Harp Gabriella Dall'Olio
Due to unforeseen circumstances, Anna Noakes and Gary Kettel will no longer be performing this evening, and we will instead hear the music of South America performed on solo harp by Gabriella Dall'Olio.
20.20h Interval Dance on the Laban Ramp
Do I? Really?
Choreography and Performance by Alina Pappi and Mari Woll
Addressing the mundane struggles of defining relationships and fulfilling human connections. Indecisiveness, hesitation, and bad timings ensured.
20.45h Performances in the Laban Theatre
Trumpet Harry Evans
Sax Lewis Borland
Bass Michael Shrimpling
Piano Amane Suganami
Drums Charlie Hutchinson
Horace Silver Yeah!
Pianist Horace Silver was an important figure in the hard-bop movement of the 1950s and 60s, accompanying jazz greats like Stan Getz and Art Blakey, and writing hundreds of tunes. Yeah!, first recorded in 1952, is a fine example of his work, a driving Latin-swing workout featuring inventive harmony and a chromatic but memorable melody.
Jimmy van Heusen Moonlight becomes you
This love song was written for the film Road to Morocco in 1942, becoming a hit for Bing Crosby. It has also been recorded by Chet Baker, Frank Sinatra and Booker Little.
Unknown Wahoo (based on Perdido by Juan Tizol)
Nobody is entirely sure who wrote this tune. The first recordings of it date back to 1943, just two years after the release of Perdido, the Duke Ellington piece on which it is based. It was very popular amongst be-bop musicians like Charlie Parker, Coleman Hawkins and Don Byas.
Cave of Hands New Work by Fintan O'Hare
Cello Fraser Bowles
Dancer Christopher Spraggs
The "Cueva de las Manos" in Santa Cruz, Argentina is the site of incredible rock art, carbon dated at more than 9,000 years old; mainly featuring layers of stencilled hands, hunting scenes and abstract patterns. Cave of Hands is a short improvisation-based solo for cello with live performative response, manually exploring this imprint and resonance of image.
Dwelling (choreography film)
Dwelling is a light-hearted exploration of functional versus choreographic approaches to domestic environments. Set to accompaniment by The Cure, it draws inspiration from artists including Willi Dorner, Katrina McPherson, Maya Deren and even Morcambe and Wise!
A collaboration between Chloe Harman, Emily May, Reuben Woodall, Hannah Woodliffe and Emma Stanworth.
Isaac Albéniz Iberia - Evocación & El Puerto
Piano Angela Pagan Benito
Dancer Vanessa Michielon
Iberia is considered the most important work of Spanish piano literature. Albéniz wrote it while he was living in Paris, between 1905 and 1909, and the first performance was given there by Blanche Selva. It comprises of four books, each of which has three pieces, describing different cities, dances or folk songs from Spain. The form, rhythm and sound-world of Iberia portray elements of flamenco dances such as Guajira, Zapateado and Fandango, including a slow lyric part imitating flamenco singing called copla. Iberia conveys the nostalgia of Albéniz's longing for his home land.
Evocación acts as a prelude and takes the listener on a journey through the most inspiring atmospheres and Sonic environments, whilst setting the mood for the rest of the pieces.
El Puerto is full of light and optimism. It alludes to the port of Saint Mary in Cádiz (south of Spain) and one can easily identify the influence of Zapateado rhythms.
Musical Theatre Spectaculum: The perpetual Puppetry of Circus Freaks and other Peculiar Persons
Director Helen Evans
Musical Director David Randall
Whitey – Becky Stockley
Ringmaster – Harvey Westwood
Maria – Becca Wickes
Doc – Phillip Murch
Diana – Jochebel Ohene MacCarthy
Agnes – Simone Sullivan–Gilbury
Will – Michael Lewis
Slim Sachihiro – Elric Doswell
Pierrot – Ella Thomas
Hilda LaZarre – Danielle Whittaker
Bubbles the Clown – Alex West
Delorus Von Devlin – Laura Barnard
Poncho – David Sharp
Cho–Cho Sen – Molly Osborne
Jonny Carriagra – Christian Andrews
Martia Carriagra – Claire Keenan
Ali Rudolfo – Aaron Bennet
Suzy – Martha Burke
Dita Von Devlin – Daniel Forster
Flora – Lizzie Burgess
Fauna – Lauren Poulson
Jeanie Bell – Eliza Roadnight
Bessie Forbush – Ciara Ennis
Eliza – Johanna Pearson–Farr
Spectaculum! (Latin: a place from which shows are witnessed) is the culmination of Head of Acting Helen Evans’ and Musical Director David Randall’s ambition to create an original musical theatre showcase alongside the first year BA musical theatre students with the works of Rodgers and Hammerstein. The setting? A circus from “No place” and “No time. Now and not then.” The company has relished the chance to create new characters and relationships around the well-established songs and dialogue, contorted to be performed by their own company of circus-freaks, and clowns. Tunes such as ‘Eidelweiss’, ‘Can’t Say No’, and ‘Wash That Man’ all took on warped and sinister meanings as the material was toyed and tinkered-with. The company all agree the creative freedom and experimental nature of the piece fits right at home with the work of Trinity Laban Conservatoire of Music and Dance. All have bought their tickets to enter the circus once more.
21.45h late Band on the Laban Ramp
Op Sa! Balkan Band
Guitar Stefan Melovski
Trumpet Nick Armstrong
Clarinet Eve Wieltschnig
Trombone Rosie Turton
Guitar Peter Bennett
Tuba Tom Kelly
Drums Olly Sarkar