Music – Page 12 – Ian Louis Harris

Les Arts Florissants, Airs Sérieux et a Boire – Volume 2, Wigmore Hall, 4 April 2016

A concert of early French Baroque songs. They don’t come around in London all that often. I really wanted to hear and see this stuff.

Janie was not sure she wanted me to book this one, but when I said that I would go to see this one on my own rather than miss it, up went her hand asking me to procure a second ticket for her.

In truth, this stuff isn’t quite Janie’s thing; in some ways not mine either. Les Arts Florissants perform these Baroque songs semi-staged, putting various materials together into a thematic programme that feels a bit like an oratorio.

The centre piece of this programme is Marc-Antoine Charpentier’s Amor Vince Ogni Cosa, but the evening is interspersed with songs by other composers; Etienne Moulinié, Michel Lambert & Sébastien Le Camus. Heck, click the link to see how Les Arts Florissants describe the programme on their own web site.

Here is the Wigmore Hall Archive concert details.

The semi-staging is a bit twee and melodramatic. Janie quite enjoyed observing the audience in the interval, noting that most of the audience was similarly twee.

But the music is simply superb. Every one of the performers is a virtuoso. William Christie, the Godfather of Les Arts Florissants, singled out soprano Emmanuelle de Negi for special praise at the end of the concert.

I thought the young theorbo player was utterly exceptional, so was surprised not to find his name credited in the programme. A little bit of detective work, not least the Les Arts Florissants link above, reveals him to be Thomas Dunford, age 28. Here is a very interesting article about him and I agree totally that he is one to watch.

The other problem, from Janie’s point of view, was the very helpful surtitles, translating the song lyrics from French/Italian into English. This is a problem for Janie, because the subject matter of the songs is all nymphs, shepherds, unrequited love and such. She hates English Renaissance songs on such subjects but usually doesn’t realise that French and Italian songs of that period are similar naff topics.

I’m not sure why, but early Baroque songs sung in Italian always sound just a bit shouty, whereas the ones sung in French don’t, even if both are composed the same French composer; Marc-Antoine Charpentier for example. Perhaps he writes the ones to be sung in Italian in the Italian Baroque style. Not as shouty as Monteverdi, but still quite shouty.

Yet, in the hands of these wonderful musicians, even the elements that would normally irritate us are trifling details; it was a really lovely concert. The performers came back to perform two encores; both extracts from the eponymous Charpentier work, Les Arts Florissants. We’d have gladly stayed around for a third or fourth encore. A special evening.

The concert was broadcast live on Radio 3, btw. Janie couldn’t work out how the surtitles and semi-staging work for radio. I explained that they don’t but those are the elements she didn’t much like, so what’s not to like about the broadcast? If you are reading this within a month of the concert, you can listen on BBC iPlayer by clicking this link here. There might still be some useful information on this link after a month, for all I know.

“Esperar, Sentir, Morir”, Le Poème Harmonique, Wigmore Hall, 26 March 2016

By the standards of a wet Easter Saturday, the day had been quite sporty and exciting. Daisy and I played tennis, despite the shocking weather – the rain holding off long enough for us to get our game in, merely through gloom and howling winds. Then we stopped off in Ealing to buy some sports kit supplies “while stocks last”. Later, we watched England play Sri Lanka in a must-win game of the World T20, which England did in the end win, but not without a scare or two.

As the drizzle and high winds turned to heavy rain and near-hurricane, we agreed that we would have abandoned a lesser outing, such as a trip to the movies. But we were very much looking forward to seeing Le Poème Harmonique at the Wigmore Hall, so it would take more than wind and piss to keep us from tonight’s gig.

It’s ages since I gave business to the Wigmore Hall CD stand, as it is usually a better idea to sample and purchase downloads of music in the comfort of one’s own home. But on this occasion we got to the hall well early (unnecessarily allowing extra time for the inclement weather ) and I wanted to read more than was in the programme as well as hear some more later, so I bought a couple of CDs:

The first is early Spanish baroque, much based on folk music, quite similar to some of the stuff we were due to hear. I’m listening to the delightful Briceño as I type.

The second is later French baroque, unconnected with tonight’s concert but a recent recording by this ensemble and should be home turf for them. It is incredibly beautiful music, wonderfully rendered by this troupe on this recording.

It came as no surprise to run into my friend from the gym Eric Rhode and his wife Maria, forming part of our baroque concert front row Mafia.

It was a wonderful concert; incredibly accomplished musicians all. Claire Lefilliâtre has a wonderful soprano voice, well-accustomed and suited to baroque singing. Mira Glodeanu is a baroque violin specialist; I’m sure we have seen her before with other ensembles.

The concert was a mixture of Spanish and Italian baroque blending “street dance music”, such as it was back then, with courtly song music. The title of the concert, “Esperar, Sentir, Morir”, means “To Hope, To Feel, To Die” and is the title of the “closing number”. There were three encores after the closing number, but you know what I mean.

For the courtly music, leader Vincent Dumestre deploys his theorbo, but for the “street” numbers, he plays a beautiful looking and sounding baroque guitar. The bass viol player, Lucas Peres, plays the bass viol “on his lap, guitar style” for some of the jauntier numbers. The bass viol is about the size of a cello. The invention of bass guitar must have come as a massive relief to jaunty bass viol players everywhere.

But it is percussionist, Joël Grare, (or as he describes himself, “self-taught child of rock and drummer-percussionist”) who hogs the limelight in the raunchier numbers. He has an extensive collection of percussive toys on the stage, together with a baroque drum being kept warm on an electric blanket. His percussion is a mixture of sound and movement – some of his castanet interludes included some sort of baroque tap-dancing. For one song, he and the soprano briefly engaged in some flamenco/tango style interactions. Joel deploys puckish head movements and facial expressions as he moves around and percusses.

Checking out Grare the next day, I came across the album Grare: Paris – Istanbul – Shanghai, which I downloaded after a tiny sample and which Daisy and I have already enjoyed hearing several times. It is quite extraordinary fusion music and is absolutely delightful listening. I’m sure we’ll be listening to this relaxing music for many years to come.

So, not a cheap date in the end, but it was an exceptionally good one.

Christian McBride and Edgar Meyer, Wigmore Hall, 18 March 2016

Janie and I are huge fans of solo and small ensemble jazz at the Wigmore Hall; it sounds great in that place. We have encouraged “The Wiggy” to put on more of the stuff over the years and we were delighted when they came up with the idea of curated jazz series.

Double bass virtuoso Christian McBride is the latest jazz series curator. Based (or should I say bass-ed) on this concert, his first appearance as curator, he seems like a superb choice.

Neither of us had heard two double basses as an ensemble before. Should I call that ensemble a duet or quadruple bass? Anyway, the second bass player, Edgar Meyer, was also quite brilliant.

Both Christian and Edgar (you soon feel on first name terms) are composers as well as musicians, so we heard some of their own pieces as well as their take on some good bassy jazz standards. Occasionally one of them would take to the piano, but most of the pieces were double bass duets.

Between pieces, taking the copious applause, they looked like a bit of a mutual admiration society, each denying that the applause was for him and insisting that it was mainly for the other bloke. But that was the only slight irritation for us the whole evening. They are clearly good friends and have a wonderful understanding of each other when they play together, which is the important thing.

This concert was cool. Seriously cool. Elvis Costello was sitting in the audience about half way to the back of the hall and to the side – that’s how hot a ticket this cool concert was. I hoped to say hello to my old pal Elvis as we left the hall, but unfortunately his entourage appeared and grabbed his attention just before I got my chance.

Nicaragua, The Search For Music, 6 to 23 February 2016

When we travel abroad, I tend to spend some time finding out about and buying local music. Over the years, given our predilection for visiting developing nations, this has not always been an easy search and for sure the lagging end of my cassette collection, for example, was music bought abroad long after cassettes had become obsolescent back home.

Nicaragua proved especially challenging on the music front. I thought Leon would be our best bet as it has a reputation as a student town with a vibrant live music scene. But the live music scene seems well in decline, such that midweek there is no scene to be seen (or heard).

Our local guide in Leon 8 February, as reported in my blog for that day, drew a complete blank on both the matter of live music (probably because there really wasn’t any that midweek night) and CDs. We did a little bit better on the CD front under our own steam on 9 February, but only through the good offices and guidance of a nice man in the musical instrument shop, helping direct us to (possibly) the only recorded music vendor in Leon.

The Leon CD vendor spoke no English and probably would be minimally helpful in Spanish too. In broken Spanglish we asked for Caribbean-style Nica music and he indicated that no-one on the Pacific side of the country buys or sells that stuff. Instead, he talked us into buying a second Nicaraguan typica/folklorica CD, probably surplus to our requirements. Still, at about 50p a pop, the extra CD was not exactly a big deal to us. Perhaps more of a big deal to the vendor.

On a Spanglish request for modern music, he simply stuck two CDs into my hand; one named Bacanalero to Brutal, which is basically a various artists mix of Latin American merengue, bachata and salsa music, primarily from Dominican and Puerto Rican artists. This was similar to the response we got in Guatemala 12 years ago to a similar request – except that the Leon vendor didn’t put the CD onto a sound system so we could hear it and thus the locals didn’t all start dancing in Leon, unlike the Lake Atitlan Guatamalan menengue-dancing locals. The sounds on my Bacanalero to Brutal CD are reasonably up to date though and the disc has the reassuringly modern “2014” on it. The other CD was named La Cuneta Son Machin and the vendor signaled to me that this second one was “really the one” in his view.

Our attempt to get some Caribbean music with Guillermo the next day did not fare much better – he didn’t think Masaya would yield anything so we ended up in Granada where he picked up an MP3/CD with a bit of absolutely everything on it, including some Caribbean side music, including the recommended Dimension Costeña, but this is clearly even more of a low quality bootleg jobbie than the regular CDs you buy on the street.

When we got to Mukul, I did a bit of Googling and ascertained that La Cuneta Son Machin is becoming one of the most successful Nica bands ever – half populated by sons and nephews of Nicaraguan folklorico patriarchs Carlos Mejía Godoy and Luis Enrique Mejía Godoy. La Cuneta’s latest album, Mondongo, has just been nominated for a Grammy award; apparently the first time a purely Nica band has been nominated for a Grammy. We’ll find out whether they won while we are at Mukul. How cool is that? Well, just a little bit cool. And no, they didn’t win, but heck, to be nominated is still a big deal. Just don’t try saying “La Cuneta” in polite company after a couple of rum and cokes…

…anyway, it should be easy enough to get hold of this historically successful and current album, right? Wrong. We tried. Mukul itself only sells bog standard stuff – Putumayo world music CDs at over £20 a pop. Managua Airport shops? Not a chance. So in the end I needed to one-click a download of Mondongo from Amazon.co.uk…

Don't try saying "La Cuneta" in polite company after two or more rum and cokes — Mondongo by La Cuneta

…not exactly helping the Nicaraguan economy the way I had hoped (and boy does the Nicaraguan economy need help – the inability to buy local music locally is but one example of the commerce shortage in this country, which has in theory been a liberal democracy with an open economy for 25 years) but at least we were able to get our lug-holes around the album. Yes, it really does rock, btw, before you ask.

You can see, hear, dance and sing along to the amazing title track, Mondongo, on this link.

Try listening to it twice and see if you can avoid the infectious rhythm and sound being stuck in your head. This is the sort of track that could be next summer’s global craze. I encourage all Ogblog readers to open their windows and play Mondongo loud, to ensure that you and your neighbours are similarly infected, thus all dancing, clicking and buying the album. It’s the least you can do.

Brad Mehldau, Wigmore Hall, 17 December 2015

What in the name of Jove possessed me to book a concert at the Wigmore Hall on the last Thursday before Christmas? Surely I knew that, despite all the plans to work less, Janie would be up to her eyes in overwork, running late and all the related stress that brings.

At 18:57, when she still hadn’t got to the flat, I really thought we were in trouble. But then she arrived and good fortune got us to a single yellow line (parking therefore permitted) within striking distance of the hall within striking distance of the appointed hour. Even time to order interval drinks – just!

This was the gig – click here. Actually that doesn’t explain it very well. Brad has been commissioned to write a three piece programme inspired by The Well-Tempered Clavier. the centrepiece of the performance was Brad playing the Well-Tempered movements that inspired him followed by the commissioned pieces.

The programme explains it better (see below). But even that doesn’t fill you in on the other stuff he played:

An improvisation before the interval inspired by the C major Prelude
An improvisation after the third commissioned piece, based on the G major Allemande (Brad omitted to say where this came from – unlike the others, clearly not the Well-Tempered – I think it must be the slightly earlier G Major Partita – perhaps he expected us all simply to know)
An improvisation following the F minor Prelude and Fugue
An improvisation following the E flat major Prelude, the improvisation also being a variation on Martha My Dear
An improvisation around Pinball Wizard, with no Bach in sight.

Anyway, Janie found it all a bit scholarly, but the chance of Janie being well-tempered about anything, least of all a clavier, was always going to be low at the end of such a day. In truth, I found Brad’s “straight” playing of the Bach rather wooden, almost as if he couldn’t bear to “swing it at all” when playing the actual piece, so that the jazz variation would come to the fore. In reality, Bach masters swing it quite a bit on the keyboard stuff. I liked the commissioned works and the first three of the improvisations; less so the Martha and Pinball ones.

There was a heavy mee-jah presence in the hall, so Brad is clearly perceived to be a jazz master worth seeing by the cognoscenti still. I would have enjoyed it more on a Saturday night in January, though. Fighting through the after-work Christmas shoppers does not set us up ideally for a evening of Bach, jazz, jazz-Bach or Bach-jazz.

Thomas Gresham Nativity Song, Gresham Society Soiree, 9 December 2015

To Gresham College at Barnard’s Inn Hall, for the biennial Gresham Society soiree. Those of a musical or light entertainment persuasion put on a short variety show, as the scene-setter for a jolly social. The usual assortment of super people gathered; a mixture of professors, former professors/lecturers and Gresham College enthusiasts.

I wrote a version of “I’m Henery The Eighth I Am”, to describe the events that might have led to Thomas Gresham’s birth and eventual financial heroics. I decided to give my recently-acquired baritone ukulele skills an outing this time, not least because I have recently imported a Roosebeck Baritone Baroq-ulele which certainly looked the part for this “piece”.

This was quite a daunting performance for me – I only took up the baritone ukulele 18 months ago, having eschewed all instruments since the disaster that was my attempt at the violin as a small boy. So this was to be my first performance in front of an audience.

Further, the song I chose did not have any simple chord versions to be found on the web; the chorus of course (a big hit for Herman’s Hermits and Joe Brown before them) but not the verse.

So I needed to work out the chords for myself – see attachment with my hand-written notes. I wrote “capo 1” all over it, as I chorded it in G but it was originally written (and indeed Herman’s Hermits sang it) in A minor. In the end, though, I sang and played it without the capo, i.e. in G major, as the baroq-ulele was a little quiet for the Barnard’s Inn Hall and my voice copes a little better the deeper I go.

The audience participation elements worked well and I am told the performance was well received. In any case, as the compere Professor Tim Connell put it at the start of one of the other acts that evening, “it’s not all about music tonight”. That was certainly the case for my little rendition.

The text that follows has the original verse and chorus, by Fred Murray and R P Weston, followed by two verses of my own. Shown in the text below the music notes and then further below as viewable JPEGs and also a downloadable PDF.But, as Michael Mainelli said, there’s probably only one music hall in the world that will really appreciate my Thomas Gresham verses for the song; Barnard’s Inn Hall.

♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬ ♬

THE THOMAS GRESHAM NATIVITY SONG

(Song to the Tune of “I’m Henery The Eighth, I Am”)

FIRST VERSE

You don’t know who you’re looking at, now have a look at me,

I’m a bit of a nob I am, belong to Royaltee;

I’ll tell you how it came about, I married widow Burch,

And I was King of England, when I toddled out of church.

Outside the people started shouting, “Hip hooray”;

Said I, “Get down upon your knees its Coronation Day.”

CHORUS

I’m Henery the eighth I am, Henery the eighth I am, I am

I got married to the widow next door

She’s been married seven times before

Everyone was a Henery (AUDIENCE: Henery)

She wouldn’t have a Willie or a Sam (AUDIENCE: or a Sam)

I’m her eighth old man named Henery,

I’m Henery the eighth I am.

SECOND VERSE (different from the first; different from the original too)

I’m not so good with money if I’m left upon me own,

So I called my mate, Dick Gresham, who could organize a loan;

I said, “I need the wonga, but I can’t afford the fleece,

Get terms I can afford or else we’ll end up just like Greece”;

Dick planned long finance, so he said, “thy will be done,

Your brood will still need Greshams’ help, I’d better pop a son.”

CHORUS

I’m Henery the eighth I am, Henery the eighth I am,

I am I got married to the widow next door

She’s been married seven times before

Everyone was a Henery (AUDIENCE: Henery)

She wouldn’t have a Willie or a Sam (AUDIENCE: or a Sam)

I’m her eighth old man named Henery, I’m Henery the eighth I am.

THIRD VERSE (different again!)

So Dick, he had a son named Tom, as smart as smart could be,

And when my Ted went brassic, Tommy saved the currency;

My Mary fared no better, Tommy had to bail her out,

And Liz retained his services, though she was more adroit.

All raise a glass to Tom, without him we’d be poor,

Bad money drives out good, I say, and call it Gresham’s Law.

CHORUS AND OUTRO

I’m Henery the eighth I am,

Henery the eighth I am,

I am I got married to the widow next door

She’s been married seven times before

Everyone was a Henery (AUDIENCE: Henery)

She wouldn’t have a Willie or a Sam (AUDIENCE: or a Sam)

I’m her eighth old man named Henery, I’m Henery the eighth I am.

H-E-NRY, ‘Enery, (AUDIENCE: ‘Enery)

‘Enery the Eighth I am, I am, Henery the Eighth I am!

The Thomas Gresham Nativity Song With My Chords and Hand Written chords.

Click here or below for a link to see Harry Champion’s original version of this song.

Stile Antico, Wigmore Hall, In Pace: Music For Compline, 27 November 2015

What a wonderful way to end the working week; a concert of beautiful early music. We’ve seen Stile Antico before at the Wigmore Hall; they are a truly inspirational vocal ensemble.

We ran into Eric Rhode and his wife, Maria at this concert, as often we do. He is no doubt at the Wigmore Hall even as I write, as I know there is early music on there right now, a couple of weeks’ after the Stile Antico event.

You can read all about Stile Antico and the superb programme of early music, if you choose to click here and browse the prgramme.

Revisiting this article in May 2020 during Covid-19 lockdown, I am glad to see that, in 2015, Stile Antico showed off their skills by singing Renaissance pieces that were designed for 12 voices. Lockdown has strangely enabled the group to multiply virtually, producing the following delicious 40 part performance of Tallis’s Spem In Alium:

But in truth, the concert we heard that might would have looked and sounded more like the following recording from 2013 of William Byrd’s Ave Verum Corpus at The Wig itself:

They’re good, I’m telling you, they’re good.

Evening and Morning, Vox Luminis, Wigmore Hall, 25 October 2015

This Sunday evening concert was part of the Henry Purcell season at the Wigmore Hall. Vox Luminis, under the direction of Lionel Meunier, treated us to 17th century English choral works.

Here is the Wigmore Hall stub for the concert, which tells you everything you might possibly want to know about the artists and the works performed.

We had arranged to take the next day off and this concert was just what the doctor ordered for us at the end of a busy weekend.

Don’t take our word for it; David Truslove of bachtrack.com gave the concert a rave review – here.

I was fascinated by these instruments, so Janie took a picture of them during the interval:

Below is an example of Vox Luminis performing one of the John Blow pieces we heard:

Below is a full concert video of a similar Vox Luminis concert at an early music festival from a few week’s earlier – no Blow, but Purcell and Morley:

Lovely stuff.

Aquilonis, Trio Mediæval, Wigmore Hall Lates, 24 July 2015

Trio Mediæval are the Norwegian early music answer to Bananarama. Need I say more?

We’d seen them at the Wigmore Hall before, bought one of their albums and everything.

Now they were back for one of those midsummer Wigmore Lates, to perform Aquilonis: a musical journey from Iceland to the Mediterranean via the coasts of Scandinavia and England.

Click here for the Wigmore Hall Stub for the concert.

They were also to be followed in the bar by live music (unspecified on the site). I have a funny feeling none emerged that evening, although there might have been a combo who played without handing out any notes.

We arranged to go and see the Sonia Delaunay at the Tate Modern earlier – click here for that piece – then eat at the Tate Modern, then leg it back across town.

What could possibly go wrong?

Nothing. That’s the simple answer. The logistics and timings worked perfectly.

The Trio Mediæval concert was delightful. Not as jaw-droppingly wonderful as the “Words of the Angel” concert we saw some years ago; that album – click here – we still listen to a lot. But still delightful.

Anthony Marwood, James Crabb & Graham Mitchell, followed by Patricia Hammond and The Versatility Serenaders, Wigmore Hall, 10 July 2015

After the chaos of the Alexander McQueen at the V&A – click here, the Wigmore Hall felt like a sanctuary.

We had arranged a cold plate supper in advance, which worked fine, then enjoyed this excellent late night concert of violin, accordion and double bass music.

Click here for Wigmore Hall stub that explains it all.

The main concert was excellent – we particularly liked the Piazzolla but it all worked well, even the Bach. Very relaxing and enjoyable.

I liked the Patricia Hammond & The Versatility Serenaders more than Janie; she finds early and pre-jazz not quite to her taste. Still, we stuck around for a while before heading home.

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