Category: Music

A Short Autumn Break In A 15th Century Cottage In An Old Market Town Part Two: Saffron Walden, 7 to 10 November 2024

John & Mandy suggested that we visit Saffron Walden for the dual purpose of seeing The Sixteen perform at Saffron Hall and to allow John to cook for us in his newly-extended kitchen…

…a kitchen so comprehensively extended that their home now appears to be a kitchen with some other rooms extended onto the kitchen, rather than a house with a kitchen extension:

Mandy & Me, with John (cooking) just visible in the distance

But I’m getting ahead of myself.

15th Going On 16th Century Cottage

Janie and I decided to make this a “proper short break”, arranging three nights in a properly old cottage, Drake’s Cottage, in the medieval part of town. The headline photo shows a picture of the outside of the cottage, inside the cottage. It dates back to 1461, making it even older than the 1480’s place we stayed in at Stratford a few weeks ago…

A Short Autumn Break In A 15th Century Cottage In An Old Market Town Part One: Stratford-Upon-Avon, 13 to 16 October 2024

…although in truth most of what remains appears to be a major rebuild from the 1530’s, around the time the bigger houses in the Myddlyton part of town were built. In any case, it is seriously wonky compared with proper mock Tudor such as our 1930’s Noddyland abode:

Proper mock Tudor with proper straight lines

We arrived later than intended on the Thursday afternoon. I was keen to get to the cottage before dark, as I am now really averse to driving on country roads when it is dark or even dusky. We didn’t quite make it, although you could argue that it was still dusky…just “well dusky” when we arrived rather than “proper dark”.

As we were self-catering, I was keen to do a bit of rudimentary cooking for a change, so knocked up a prawn and pea pappardelle dish with a large salad.

We took our time before venturing out on the Friday, but did some strolling at our own pace and went to find the market square with a view to returning there the next day to see the market.

Ah, there it is

Selfie showing our smug “we can find a market square” faces

I offered to host John & Mandy for drinks and grub at our humble cottage before and after the concert at Saffron Hall, an offer which was gratefully accepted. A mixture of wild and posh farmed smoked salmon on mini bagels with a Pouilly-Vinzelles pre show.

Sixteen Going On 17th Century: Monteverdi, Vespers of 1610, The Sixteen, Saffron Hall, 8 November 2024

Part of this gargantuan piece, the Ave Maris Stella and the Magnificat, was probably the first Monteverdi music I ever heard, as it came as part of a collection of music records/subscription booklets that Uncle Michael gave me when I was a small child:

https://www.discogs.com/release/9437456-Claudio-Monteverdi-Monteverdi-Part-Two

I still have that record and booklet. You can hear that version of the Magnificat digitised here:

Magnificat

I have a feeling that my dad wasn’t overjoyed by my affinity with early 17th century sacred music, hence him seeking out and getting me into Monteverdi madrigals instead:

You Don’t Have To Be Madrigal To Learn About Music Here, But It Helps: Madrigals Of Love And War From The Radio, 4 June 1974, Plus The Top Five From That Week To Worm Their Ways Back Into Your Ears

But I digress. Let us return to November 2024 and the Saffron hall:

“Ian – what is that enormous instrument called?”

“It’s a theorbo, Mandy”

I proceeded to tell Mandy my favourite theorbo anecdotes:

William Carter, Theorbist Extraordinaire’s Mystery Punter Outed, 24 September 2010

Mandy must have been very keen to hear The Sixteen that evening, because she looked super-excited when the lights went down, I shut up and Harry Christophers strode onto the stage.

It was an excellent performance of Vespers 1610.

You can hear The Sixteen’s recorded performance of Monteverdi’s vespers on this link – do not be discouraged if it looks crossed out, the link works, but you might be interrupted by adverts if you don’t have a YouTube Music account.

Back at our cottage, I had prepared a supper of charcuterie and cheeses, with a rather jolly bottle of Chocolate Block.

Our luxury medieval cottage

A super evening.

Saffron Walden Market, Bridge End Gardens & Dinner At John & Mandy’s Place, 9 November

Mandy & John supplemented advice we had already received about what to do on a Saturday in Saffron Walden, before heading to their place for John’s cheffy dinner.

I’ll tell the story mostly in pictures, as I have written more than enough words already:

The condiment lady sold us two types of balsamic vinegar

St Mary the Virgin, the tallest spire and largest organ in all Essex apparently

Parish buildings

Strolling the old town

Then into the Bridge End Gardens…

We were getting quite cold, so we didn’t attempt the maze in Bridge End Gardens.

Probably just as well – as a few hours later – we even managed to get lost in the relatively simple maze of streets between our cottage and the John & Mandy residence. Eventually John came out to rescue us in the street.

Look closely and you can see all four of us in this picture

John hard at work preparing our amuse-bouche

Food Porn Photo One: the amuse-bouche

Food Porn Photo Two: sea bass starter

Food Porn Photo Three: beef fillet with celeriac & beans

Food Porn Photo Four: tiramisu that tasted far better than it looks

IAN: Cheese? Are you kidding? JOHN: You’ve no stamina these days, Ian

It was a really enjoyable evening. Indeed it was a really enjoyable and much needed short break for me and Janie.

If you want to see all 70+ photos from this trip, click the Flickr link below and scroll away:

Harold López-Nussa: Timba A La Americana, Wigmore Hall,  22 October 2024

Young Harold (2010) Stoemp, CC BY 3.0

Just occasionally we see jazz at the Wigmore Hall that really excites me and Janie. This was such an occasion; we loved this concert.

Here is an embedded video of a similar gig very recently, which gives a good idea of what this music looks and sounds like live:

Luques Curtis (the bassist in the video) was unable to take part in our concert, but we were very impressed with French bassist Thibaud Soulas who took his place.

The Lopez-Nussa brothers and Thibauld Soulas were very jolly souls, whereas the superb harmonica player, Grégoire Maret, didn’t get the “everyone smile” memo.

This type of music works best live and works brilliantly well at the Wigmore Hall. I am now exploring Harold López-Nussa canon of recorded music too. The album Timba a la Americana is for sure very good. I have so far only dipped into the earlier ones. Something to look forward to.

And I also look forward to seeing this combo again live, if we get the chance. Truly excellent.

Oud Have Thought It?: Rihab Azar Session At Wigmore Hall (Learning Room), 4 October 2024

We were keen to see this solo early evening concert by the virtuoso oud player of Syrian origin, Rihab Azar. The oud is a basically a Middle-Eastern fretless lute – indeed the instrument from which the Western lute derived.

We were not disappointed – the concert was truly lovely.

Here is a link to the Wigmore Hall resources on this concert.

For those who cannot be fussed to click, this is what we heard:

  • Ahmad Al Khatib – Extract from Suznak Rhapsody
  • Rihab Azar – Enchanted Weavers
  • Adnan Abul-Shamat – Hatiha Ya Sah
  • Rihab Azar – Biography of a Bubble
  • Rihab Azar – Samaie
  • Rihab Azar – Questions
  • Rihab Azar – The Pull of Time
  • Anouar Brahem – Parfum de Gitane
  • Rihab Azar -Indulgence
  • Rihab Azar -Sand, Roots & Blossoms.

Here is a charming video of Rihab Azar playing one of the lovely pieces we heard, Indulgence, on the very same seven-course oud that we heard:

The concert was held in the Learning Room (formerly known as the Bechstein Room), which the Wigmore Hall team had set up beautifully in a “jazz club with tables” style and some suitably Middle-eastern-looking drapes. Very atmpospheric.

Soon after the concert began, an old twerp with a massive Canon camera and several large lenses came forward from the rear of the room and sat next to us at our table, fiddling away with his camera and snapping with seeming abandon. Janie thought he must have been an official publicist or something, until a member of staff stepped forward at the end of the piece and politely but firmly told the geezer that it was not permitted to take pictures during the performance – a fairly obvious point that, in the main hall, would have been made as part of the pre-announcements these days, now that everyone has cameras (smart phones) on them all the time.

The old geezer feigned surprise and confusion. Then he proceeded to fiddle with his equipment ceaselessly during the performance and snap with reckless abandon between each piece.

The staff clearly made a decision, rightly or wrongly, that further intervention would be more disruptive than letting the old git have his way.

Rihab Azar took all this with great grace. She even took with great grace the same geezer stopping the concert just before she played her last piece, with a request for “something old school”, because he hadn’t been expecting her use of the loop pedal and wanted to hear the oud without it.

Rihab sweetly said that she had to play her planned last piece, but that she would additionally play a short traditional piece without loop pedal (I cannot remember what it was, but it was delightful) before the last scheduled piece (which was also but differently delightful).

If you, like the old git, want to hear “old school” oud, here is the Parfume de Gitane piece played by the composer, Anouar Brahem, and his mates back in 1997:

No wonder Rihab Azar was insistent on playing her closing number – it was especially charming and is her latest piece, Sand, Roots & Blossoms. designed to accompany an art exhibition,  “The Universe Within”. here is a link to the performance she posted, from that exhibition, a few days after our gig:

At the end of our concert, several members of the audience let the witless git know how they felt about him. One said that he had ruined their enjoyment of the concert, which seemed a bit extreme. We were the closest to his fiddling and we just thought he was a twerp.

Mr Twerp engaged us in conversation once he had beaten back his detractors. He clearly wanted us to know that he was a guitar player (he must have said “Fender” three times) and spoke in critical terms about the loop pedal back-tracking (which we rather liked) and the fact that Rihab Azar “looked at the neck of her instrument too much”.

“Have you ever played a fretless instrument?”, I asked. He hadn’t, but pointed out to me, entirely counterfactually, that the oud has frets…or at least Rihab Azar’s did! (Oh no it doesn’t…oh no it didn’t).

Janie then wondered, given his desire for “old school oud playing”, whether Mr Git had ever been to Syria. Of course he hadn’t. “Oh you should, you’d find it fascinating”, said Janie.

Janie correctly remembered seeing oud playing at Abu Al-Azz in Damascus in 1997

I quietly wondered whether the old geezer would survive 20 minutes in Syria these days. Even in 1997, some diplomacy was needed to navigate the political regime and local sensitivities wherever we went. Perhaps that was in Janie’s mind when she recommended the place to Mr Twerpy Git, the amateur photographer-guitarist.

After we parted company with the fellow, Janie told me that she had wanted to take a picture of him for the blog, but thought him so mercurial that the request might lead to an argument and that permission to publish would probably not be granted. I agreed that her decision was a wise one.

I decided instead to help you visualise this geezer by prompting the DeepAI image generator with the phrase:

Silly Old bald Man taking a photo with a telephoto lens camera

The following image, very much of the right kind, emerged:

We had a lovely time at this concert and for sure will return to “Learning Room Sessions” if the subject matter pleases us.

Let’s leave the last word to Rihab Azar’s beautiful oud-playing:

John Dowland And His Cheery Pals, Tim Mead & Sergio Bucheli, Wigmore Hall, 16 September 2024

John Dowland, CC BY-SA 4.0 click here for details

OK, I have a confession to make. The Wigmore Hall did not title this concert “John Dowland And His Cheery Pals”; it merely promised us the superb countertenor Tim Mead and the also excellent lutenist/theorboist Sergio Bucheli.

On arrival, I made a bee-line to the desk where a young woman was handing out programmes. I told Janie that the programme was bound to include a lyric sheet so we all could sing along.

Don’t be ridiculous…

…said Janie.

Have fun…

…said the far more open-minded young lady.

We found ourselves sitting next to a Scottish woman named Fiona, who had sung in her youth and was clearly a huge fan of Tim Mead. She said she might inadvertently sing along, which Janie tells me Fiona sort-of did – under her breath. I chose not to sing along, partly because Tim Mead sings in the wrong pitch for me. I might have tried singing a whole octave down, but wouldn’t have wanted to upstage Tim that way.

More seriously, it was a truly lovely concert. Here is a link to that very programme and song sheet if you want to see what the whole thing contained.

I was familiar with many of the John Dowland songs and lute fantasias, whereas some of the material by other composers was new to me.

We were particularly taken with John Danyel’s three part song, “Mrs M E her funeral tears for the death of her husband”…

…did those guys compete for maximum misery in the subject matter of their songs in those days?…

…a truly beautiful sound that has made me seek out some more John Danyel to hear after the concert.

Here is a link to the first part of the Mrs ME song – don’t be put off if you see a line through the link – it should work for you even if you are not a YouTube Music subscriber.

Tim Mead does a lot of his work with La Nuova Musica – in fact Janie and I didn’t realise that we had seen Tim sing before at one of their concerts – at St John’s Smith Square in 2015:

La Nuova Musica, St John’s Smith Square, 20 March 2015

We had seen Sergio Bucheli several times before, most recently at Wigmore Hall just a few months ago:

All The Bs: Biber, Benjamin, Byrd, Bach…& Brett – Brett Dean Concert, Wigmore Hall, 20 April 2024

We enjoyed every bit of the Dowland and Pals concert, despite the downcast subject matter. With Dowland you can be pretty sure about what you are going to get. Otherwise it would be a bit like going to a Leonard Cohen concert and complaining that the songs are miserable.

Tim Mead and Sergio Bucheli seemed very much at home in this late Renaissance space, although my guess is that home base for them is Baroque music from 70 to 100 years later than the works we heard. I cannot find a sample of these two performing late Renaissance works, but this sampler from their recent album about Purcell And His Perky Pals (OK, it’s actually named Beauteous Softness)…

… has inspired me to stream that album as soon as I have some proper listening time…which might be as soon as 24 hours after the Dowland & Pals concert.

The Light Within: O/Modernt Chamber Orchestra Feat. Soumik Datta (Sarod) & Gurdain Rayatt (Tabla),The Wigmore Hall, 21 July 2024

Gurdain Rayatt getting ready

We don’t really patronise The Wigmore Hall for the wow factor. We quite like the fact that we are quite often amongst the youngest people in the audience. We like early music and we get a good dose of that from The Wig.

But we do sometimes book a concert at The Wigmore Hall that we think might have a wow factor and sometimes, like on this occasion, we call it right. It does tend to mean that we are bringing the average age up rather than down, though.

Here is a link to The Wigmore Hall stub for this concert.

We have seen O/Modernt before, under the enthusiast auspices of Hugo Ticciati:

O/MODƏRNT: Monteverdi to Tango & Monteverdi in Historical Counterpoint, Wigmore Hall, 3 July 2015

They like a bit of fusion, do the O/Modernt gang. On this occasion, it was an East/West fusion that they explored, as well as a temporal “Bach to Beatles” shtick.

Here’s what we heard:

  • Johann Sebastian Bach –  Contrapunctus 1 from Art of Fugue BWV1080
  • Pēteris Vasks – Concerto No. 2 ‘In Evening Light’ UK première I. Andante con passione • II. Andante cantabile • III. Andante con amore
  • Max Richter – On the Nature of Daylight
  • Soumik Datta  – Migrant Birds from Awaaz (arranged by Jordan Hunt)
  • John Lennon & Paul McCartney – Blackbird (arranged by Johannes Marmén)
  • Soumik Datta – 1947 from Awaaz (arranged by Jordan Hunt)
  • Jordan Hunt – Misremembrance
  • Wojciech Kilar – Orawa
  • Soumik Datta – Awaaz from Awaaz (arranged by Jordan Hunt)
  • John Lennon & Paul McCartney – Across The Universe (arranged by Johannes Marmén, plus sarod & tabla riff) – encore

To give you a feel for what we heard, here is a clip from O/Moderndt playing Distant Light by Pēteris Vasks. The piece we heard was the follow-up concerto by Vasks. It was a nice touch to have Vasks at The Wig for his premier – I even managed to congratulate him in person as we were leaving the hall.

The sarod, tabla and a heap of special furniture/equipment arrived during the interval for the second half of the show.

Soumik Datta getting ready

Technician “turning it up to eleven” for Soumik Datta and Gurdain Rayatt

There’s no video to be found of O/Modernt and the sarod & tabla fellas all playing together, but here is a 15-year-old clip of Soumik Datta and Gurdain Rayatt playing as a pair, which will give you a feel.

Here is a more recent recording of that pair playing together:

The most “wow” piece of the evening was Orawa by Wojciech Kilar. Here is that piece played by a more formal orchestra than O/Modernt.

The encore had to calm us down again, which it did. Here’s what Across The Universe sounds like in O/Modernt’s hands.

The sarod & tabla coda to the Across The Universe encore helped us all to float away from The Wig.

We heard several younger members of the audience saying that they had been blown away by the evening. This is surely the sort of thing The Wigmore Hall should be doing more often.

Viktoria Mullova (Violin) & Misha Mullov-Abbado (Jazz Bass), Late Night Concert At The Wigmore Hall, 5 July 2024

With grateful thanks to Misha, Viktoria and Bridget O’Donnell for allowing me to use their pictures from the evening.

We went to quite a few “Wigmore Hall Lates”, back in the day, but this is the first time we have ventured back at that later hour since the pandemic.

We were keen to see this much-lauded mother and son combination perform.

I had seen Misha’s dad perform more than 40 years ago – my first ever night at The Proms:

My First Night At the Proms: Me, Jilly & Claudio, 1 September 1983

All the more reason to find out what Viktoria and Misha are up to, musically. Further, we liked the sound of the Brazilian theme for the concert, which we sensed, correctly, would please us.

We enjoyed a light supper of charcuterie and stuff at The Wig before the concert. They do that sort of thing very well these days. While we were eating, the performers were setting up and photographing one another.

Here is a link to the Wigmore Hall stub for this concert.

The conceit of this concert, if indeed conceit describes this simple rationale, is that Viktoria and Misha perform a selection of the stuff that they like to play together. Their joy in playing this music really came across in performance.

We heard:

  • Blue Deer by Misha Mullov-Abbado
  • Brazil by Misha Mullov-Abbado
  • Shir Lelo Shem by Shalom Hanoch
  • Adagio & Allegro From Violin Sonata No. 1 in B minor BWV1014 by Johann Sebastian Bach
  • Moderato from Sonata in D for solo violin Op. 115 by Sergey Prokofiev
  • Sabiá by Antônio Carlos Jobim
  • Little Astronaut by Misha Mullov-Abbado
  • Shanti Bell by Misha Mullov-Abbado
  • O Silêncio das Estrelas by Lenine & Dudu Falcão
  • O Cabo Pitanga by Laércio de Freitas
  • Träumerei from Kinderszenen by Robert Schumann
  • Tico Tico by Zequinha de Abreu

Here is a lovely example, recorded a few years ago, of them performing one of the above pieces:

Their closing number, Tico Tico, is more than a bit of an earworm for me. Not least, because the Harris family gramophone records included a version of that song by Mickey Katz and His Kosher Jammers. Viktoria and Misha’s version sounded more like the above example and did not sound at all like the following recording:

I sense that Misha and family thought the event went well. Misha and Viktoria certainly look pleased in this green room photo.

Thanks again for allowing me to use your photographs, folks.

Camerata RCO, Bruckner Symphony No 6, Wigmore Hall, 1 July 2024

This Wigmore Hall lunchtime concert was a bit unusual.

Camerata RCO is the scaled-down chamber orchestra bit of the Royal Concertgebouw Orchestra. They are making a bit of a reputation for themselves playing scaled-down versions of enormous symphonies, such as this sixth one by Anton Bruckner.

It’s all explained on the Wigmore Hall stub for this concert – click here.

Does this idea work? It was a BBC Lunchtime concert, so if you get here within 30 days of the concert you can listen here.

Or you might listen to the album version, e.g. on your favourite streaming platform – YouTube link here.

We rather liked it, although I don’t think we’ll be elbowing people out of the way to grab tickets for another such concert in a hurry.

A lovely way to spend a lunchtime, though – at The Wig.

The Renaissance Princes Of Heartbreak: The Gesualdo Six, Wigmore Hall, 23 June 2024

This was a wonderful concert and a lovely way for me and Janie to chill at the end of the weekend.

When I first saw The Gesualdo Six, coincidentally six years ago, I described them as the hottest boy band in the early music vocal consort world

Fading: The Hour Is At Hand, The Gesualdo Six, St John’s Smith Square, 28 March 2018

But now, having heard them and seen them some more, I realise that The Gesualdo Six are now beyond boy band. They are to 15th/16th century Chansons de Regretz what Taylor Swift is to the 21st century heartbreak song.

Further, the Ges-Ges Boys, much like Tay-Tay, are mastering the art of social media management. When Owain Park announced from the stage that “you can find us on TikTok”, I wondered:

  • whether he was joking,
  • how many members of the Wigmore hall audience understood what he meant by TikTok,
  • was I the only person in the Hall (other than the Ges-Ges Crew) who had a TikTok account.

I can’t be sure about the answer to the second and third question, but I can confirm that Owain Park wasn’t joking.

@thegesualdosix

Listen to this famous motet by Thomas Tallis. ‘If ye love me’ was composed in the 16th-century and is a perfect example of the enduring power of Renaissance polyphony. #singing #classicalmusic #music #choir #musician #church #song #cinematic #g6 #choral #classical #oldisgold #ancientmusic #polyphony #earlymusic #renaissance #fyp #foryoupage #fypシ #tallis

♬ original sound – The Gesualdo Six

They are also very good at merchandising. On my 2018 visit Owain tempted me to buy a pre-release version of their first album – English Motets (which includes the track embedded above from TikTok, as it happens). This time he persuaded me to be among the first to buy Queen Of Hearts, the latest album.

To be honest, I don’t really need much persuading and I can confirm that the Gesualdo Six recordings are excellent.

The Gesualdo team themselves staffed the merchandise and payment gadgets during the interval, chatting kindly (and at some cases at length) with the patrons who queued up to buy the recordings. I believe they did that all again at the end of the gig.

I wondered to myself whether Taylor Swift was doing this at her Wembley Stadium concerts – I have heard that she engages with her audience like no other. Possibly Tay-Tay is still there at Wembley, selling, signing and chatting.

So what did we hear at The Gesualdo Six gig, I hear you cry. Here is the stub from the Wigmore Hall website posting for this concert.

Almost all the stuff we heard was from this new Queen of Hearts album. Did I mention that it is available from The Gesualdo Six website – click here. We are loving listening to the albums. I also bought Josquin’s Legacy to add to my collection.

Before the interval we heard:

  • Antoine Brumel (c.1450-1512) Sub tuum praesidium (pub. 1520)
  • Josquin des Prez (c.1450-1521) O virgo prudentissima
  • Loyset Compère (c.1445-1518) Plaine d’ennuy/Anima mea
  • Antoine Brumel Sicut Lilium
  • Jean Mouton (c.1459-1522) Ave Maria … virgo serena (pub. c.1520)
  • Johannes Prioris (fl. c.1485-1512) Dulcis amica Dei (pub. 1508)
  • Owain Park (b.1993) Prière pour Marie (2023)
  • Jean Lhéritier (c.1480-1551) Sub tuum presidium a6

After the interval:

  • Josquin des Prez Petite camusette (pub. 1545)
  • Antoine de Févin (c.1470-1511) Fors seulement (pub. c.1515)
  • Jean Mouton De tous regretz
  • Anon Se je souspire/Ecce iterum attributed to Margaret of
  • Austria
  • Costanzo Festa (c.1485-1545) Quis dabit oculis (1514)
  • Ninfea Cruttwell-Reade (b.1989) Plaisir n’ai plus Commissioned by The Gesualdo Six (2023)
  • Johannes Prioris Consommo la vita mia
  • Nicolas Gombert (c.1495-1560) Tous les regretz (pub. 1544)

Below is a video of them singing Josquin’s O Virgo Prudentissima – one of the pieces we heard.

This group is the real deal. Janie and I floated home after the concert.

All The Bs: Biber, Benjamin, Byrd, Bach…& Brett – Brett Dean Concert, Wigmore Hall, 20 April 2024

“Don’t mess with my partitas, mate!”, Heinrich Biber

Hmmm, we were neither of us sure about this one. We really enjoyed bits of it, while spending some of our listening time hoping for certain pieces to end.

My bad in choosing it.

Here’s a link to the Wigmore Hall stub for the programme we saw. If that ever fails, you can find the pdf programme here.

I guess my eyes were caught by the names Biber, Byrd and Bach, without twigging quite how much contemporary composition we were also to hear. I also spotted that Lawrence Power and Sergio Bucheli were involved – we had very much enjoyed their lunchtime concert last year.

Imitations: Lawrence Power & Sergio Bucheli At The Wigmore Hall, Plus Other Activities, 24 April 2023

Queenslander Brett Dean comes across as a genuinely nice bloke who surrounds himself with musicians who like to play with him. His compositions, though, borrow from well-known composers and tunes, deconstructing and reconstructing them in ways that could only please ears wired differently from ours.

Brett claimed that the music in his concert spanned the 16th to the 21st century, only omitting the 19th century. I would dispute that claim. His “some birthday” piece of 1992 is a sort-of variations on the tune we know as “Happy Birthday To You”, which was first published in 1893 as “Good Morning To All” in “Song Stories for the Kindergarten” by Patty and Mildred J. Hill. While the Hill’s copyright is famously disputed, that tune is surely 19th century.

Here’s the oldest known version – let’s not even think about what Brett’s version looks like on the page

Anyway…

…here’s a nice recording of the first movement of Biber’s 7th parthia, which was the first piece we heard:

Janie and I both found George Benjamin‘s piece too weird for us. George kindly turned up to take the applause afterwards – turns out he’s a Londoner. Here’s a recording of it enabling you to judge for yourselves:

Byrd’s Fantasia pieces are lovely little vignettes. That segment was too short (or there were too few of them) for my taste. Here’s a nice example of one played by a consort of viols (almost certainly what Byrd had in mind) rather than violas and cello – which we heard and still sounded lovely:

The highlight of the evening, for us, was to see the young gifted harpsichordist/pianist Xiaowen Shang play with such joy and expression. For us she played Byrd’s Earl of Salisbury pavan and galliard, plus The Bells – both favourites of mine – on the harpsichord. Below, a video of her playing a lovely piece of Bach on the piano:

The Earl of Salisbury pavan is such a favourite of mine. Xiaowen played it beautifully, if a little twiddley for my taste. Below is Janie’s hand-held recording of Reuben Ard playing it on the electric virginals at Hampton Court Palace last year, for my Gresham Society event there:

Let’s not talk too much about the things Brett Dean did to Byrd’s beautiful pavan and his take on Bach’s Brandenburg Concerto No 6. Imagine PDQ Bach in a really bad mood, unable to make jokes.

“There’s nothing funny about feet either” (Janie, attrib. PDQ Bach)

It seemed to take an age to segue from Brett’s “treatment” to the concerto itself, which was a rather glorious and suitable choice of closing number for a concert that focussed to a large extent on the idea of two violas. By the time the concerto finally arrived, we thought we’d more than earned some ear candy.

Here’s a lovely rendering of the Bach by some sensible Dutch people who don’t mess with it:

“Is that it?”, asked Janie as the applause rang out for the Brandenburg.

“I do hope so”, I said.

“Will they play an encore?”, Janie persisted.

“I do hope not”. They didn’t.

The Harry Baker Trio, Jazz In The St John’s Smith Square Crypt, 18 April 2024

Will Sach, Harry Baker & Oren Mcloughlin, image borrowed from The Vortex, a fine venue at which The Harry Baker Trio have performed several times

To a late evening jazz concert in the crypt of St John’s Smith Square. The Harry Baker Trio. A young bunch. We’d not seen or heard of them before, but that’s our problem, not theirs.

Here’s the SJSS stub for the event. If SJSS ever mess up their stubbing or something, click here instead.

A small, select audience. A few younger people, plus one or two other tables of seasoned folk like ourselves.

Here’s a short video of the three of them playing one of Harry Baker’s own moody compositions, which we thought were rather good:

But most of the evening comprised them playing standards, the most effective of which were the livelier ones: St Thomas by Sonny Rollins, Empty Pockets by Herbie Hancock, something less well-known by Thelonious Monk and Tempus Fugit by Bud Powell.

These three know what they are doing and play without pretention and with evident joy.

We very much enjoyed our evening. Good luck to them.