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.
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.
The themes for the festival and from the 12 May concert continued in this charming lunchtime concert by Improviso – namely ideas around cross-fertilisation of musical ideas across countries/continents, plus the use of improvisation as part of the musical fabric in the Baroque period.
I thought this concert might appeal to John Random, who enjoys these lunchtime concerts when we are both available for such. In fact the timing worked so well for us that John was also available to join me at Lord’s for a while after the concert.
While I was striding my way towards Smith Square, a voice to the right of me said “hello Ian”; it was John Friend, taking lunch in a cafe I was passing. Sadly I couldn’t stop to chat with him, but the irony of running into John Friend while on my way to utilise my “Friend of St John’s” rights to lunchtime concerts was not wasted on either of us.
The concert was lovely, with some unusual works as well as some familiar pieces.
Below is some of the Mecmûa-i Sâz ü Söz played in the traditional Ottoman style, rather than the Wojciech Bobowski adaptation which was played by our Improviso quartet.
https://youtu.be/EYLIASW44kI
I cannot find any examples of Improviso playing the pieces we heard at this lunchtime concert, but they do have several lovely examples on their website – click here, including the Castello sonata, embedded below:
John and I had, in fact, enjoyed seeing Johan Löfving perform before – just a few months ago, at such a lunchtime concert…
…but the addition of three more musicians in Improviso, rather than just the duo, enabled each of the musicians to show their individual and collective talents superbly.
Below you can hear the charming Blavet sonata we heard, on this recording performed by Jed Wentz:
Below is the allegro from the Telemann Trio Sonata we heard, but performed by a different young quartet, Ensemble Tolmetes:
In addition to the several pieces listed on the programme, Improviso also improvised a La Folia, very energetically and beautifully I might say. This, for me, felt like a full circle, as Jordi Savall and his pals had performed a couple of La Folias on the Sunday.
Below, a very different La Folia interpretation from any that I saw this week, but an exceptional one by Jordi Savall, family and pals:
But returning to Improviso, they are a very talented young quartet who seem to take great pleasure in making music together and in explaining what they are doing to a rapt audience.
To round off this Ogblog piece, here are Improviso performing William Byrd’s charming tune, John Come Kiss Me Now, demonstrating their style of improvisation:
Janie and I have seen Jordi Savall with his various Hespèrion colleagues several times over the years and have bought quite a lot of his recordings. To the extent that we are fans of anyone, we would consider ourselves fans.
Yet I had always assumed that Jordi was pronounced “Yordee” and not, as we learnt at this event, “Geordie“. Haddaway! Yes, really.
How did we find out? Because there was a short interview session an hour ahead of the concert, hosted by Robert Heason, who tossed a couple of open-ended questions at Jordi who then got on with the business of interviewing himself.
Gobby crack an’ all
It was actually really interesting to hear Jordi explain his way of thinking about early music and performance. He comes across as a very learned but likeable man who wears his expertise lightly. His comments on improvisation and the folk origins of serious music were especially interesting.
When the “conversation” ended, there was still nearly half an hour until the concert. We thought we’d take a picture of the instruments on the stage…
…but then almost immediately Jordi returned…
…and warmed up his fingers for a while on the stage…
Then we went to get some refreshments
“Gi’s a drink I’m gyezend, our lass”, (or words to that effect), said Ged.“Are ye in a fettle, pet?”, (or words to that effect), asked Daisy
We saw “the nice couple” from the front row of many concerts previously reported, sitting a few seats away from us during the talk, but when we returned to our seats it transpired that their booked seats for the actual concert were right next to ours this time. Nice.
…but not with Xavier Díaz-Latorre, who I don’t think we’d seen before at all. His guitar and theorbo playing was excellent.
Below is a really nice video that shows Jordi and Xavier’s skills, though not one of the pieces we heard:
Below is some Jordi viol solo work, including some pieces we heard:
The entire concert is due to be broadcast on BBC Radio 3 on 5 June 2019, so enthusiasts can hear everything we heard.
It was a really interesting and lovely concert. It is always a treat to see Jordi Savall and his pals perform. And now we know to pronounce the name “Geordie”, which is very important.
After saying goodbye to the nice couple…
…aw’s clamming, as was Daisy…
…so we picked up some shawarmas on the way home, to round off a very enjoyable evening with a tasty supper.
…and that was not even my first visit of the week to Dean’s Yard…
…then this wonderful Tallis Scholars concert at the start of the St John’s Smith Square (SJSS) Holy Week Festival.
It is hard to explain why, as non-religious people, this type of religious music works so well for me and Janie. I suppose it is simply because we love the music of that Renaissance period and the finest music from the period tends to be the sacred rather than the secular music.
Janie and I enjoyed a pre concert and an interval drink in the crypt, a venue which Janie always enjoys. Great to see something close to a full house at SJSS too; we don’t so often see that, sadly. The place seems warmer when full.
Here is a link to the SJSS resources on this concert. For those who don’t wish to click, the main take away from that material is that this concert showcases music that was guarded by Popes during the high Renaissance within the confines of the Sistine Chapel.
Lots of Palestrina with the magnificent Allegri Miserere as the highlight to kick off the second half of the gig.
Here is a beautiful video of The Tallis Scholars performing the Miserere, albeit some 25 years ago:
As in that 1994 version, at our concert several of the voices spread out across the concert hall, to give an intriguing surround-sound effect.
Below, from that same 1994 concert I believe, is some Palestrina, Nunc Dimittis, not one of the pieces we heard in April 2019:
No such simplicity in April 2019 – The Tallis Scholars encore was Lotti’s Crucifixus for eight voices. At least seven-and-three-quarter voices above my pay grade.
Here is another mob, confusingly named Tallis Vocalis, all performing that lovely Lotti at an appropriate pay grade:
The Tallis Scholars concert we enjoyed 14 April 2019 was a simply lovely concert. If you ever get a chance to see them, we really do recommend them highly.
I joined the nice “front Row couple” I quite often see and chat with at SJSS (and also occasionally at The Wig). They asked after Janie, as usually do and we chatted about Janie’s mild aversion (or I should say relative aversion) to SJSS.
We also discussed the ageing demographic at both venues and I alluded to the fact that I sometimes still get called “young man” at The Wig, whereas not so at SJSS.
One of their number, Emily Worthington, describes the project well in the following vid:
…and also the next one, which is about one of their earlier Beethoven projects:
I couldn’t help but think of the Noel Coward song, “Don’t Put Your Daughter On The Stage, Mrs Worthington” despite the fact that the charming young clarinettist shows none of the unfortunate characteristics attributed to Mrs Worthington’s daughter in the song.
Anyway, the ensemble treated us to Czerny’s wind ensemble arrangement of Beethoven’s Septet in Eb Op 20. A light piece which was apparently very popular in Beethoven’s day.
Here is a charming performance of the original Beethoven septet:
The Czerny wind version has only recently been revived – essentially Boxwood & Brass seek out such versions for revival.
Returning to the phrase, “young man”, that really does apply to Carl Czerny, who was all of 14 years old when he arranged this piece for wind ensemble. Precocious little fella.
Meanwhile, as we upped and left the hall at the end of this excellent lunchtime concert, the nice man from the nice couple patted me on the shoulder and said, “see you soon, young man”. It doesn’t really count once you’ve seeded the idea to someone, but still I thought it was a kind, friendly touch.
Remember where you first heard the name of this Yorkshire-based wind ensemble, Boxwood and Brass; ‘appen they were champion – I were well chuffed wirrem.
It wasn’t really a random concert. Katie Cowling was supposed to be delivering a programme named Blow Ye Winds with Johan Löfving, but Katie was poorly so Johan showed up with another of his regular pairings, flautist Yu-Wei Hu, to perform a slightly different programme named The English And French Gardens. The medieval element had gone but a fairly similar Baroque assortment to that originally planned.
From and linked to http://www.flauguissimoduo.com/ – photo by Aiga Ozo
So, it might not have been a random concert but it was a Random concert, by which I mean John Random was going to join me. Or was he? There was some traditional too-ing and fro-ing with “can make it”, “can’t make it”, “can make it but might be late” messages. In the end, John arrived in time to see all but the first sonata.
So this concert closed a loop or two. John really did get to hear and see a theorbo. In fact, I think the concert included a little first for me too, as Johan Löfving played a short theorbo solo piece – I don’t think I had ever heard the theorbo as a solo instrument before. It was a lovely little piece. Coincidentally, it was by Kapsberger, which also closed a loop for John, as although he had seen Les Kapsber’girls, on that occasion the girls did not perform anything by their eponymous composer. I managed to find a snippet of Johan Löfving playing the very piece in question:
Not the best recorded audio nor video you’ll ever see, but a rare sighting of solo theorbo
Here is another short vid, which shows both of the Flauguissimo Duo – the Sonata by Johan Helmich Roman which they played as the closing number of our concert:
It really was a very charming lunchtime concert – these SJSS ones are such a treat when I can get to them and it was such a pleasure to be able to share that musical experience with John.
Afterwards John and I had a bite of lunch together in the crypt, which is a great place to eat and drink. John described it as his favourite crypt. Janie would agree wholeheartedly with that – she is also a devotee of the SJSS crypt, claiming that the crypt is the best thing about the whole place and that some small scale concerts should be held down there.
John suggested that he would like to spend far more time reading Ogblog than he has available and that a decent length of custodial sentence might provide him with the time and inclination so to read.
I suggested that, on our way back to Westminster Tube Station, we might ask some of the more pugnacious Brexit protesters on College Green to provide John with the means to such a custodial sentence, but John demurred. Not dedicated enough to Ogblog, then?
Time flew by and I realised that I really needed to get back to the flat, as I had arranged further Renaissance/Baroque style activity for the rest of the day – a lesson on early music guitar technique with Ian Pittaway…
…who subsequently sent me a link to this lovely 10 minute vid by Elizabeth Kenny explaining everything you ever wanted to know about the theorbo but were afraid to ask…
…followed by a real tennis bout at Lord’s against a nemesis-like adversary, formerly a seriously top-ranking amateur cricketer, against whom I had never previously emerged victorious at tennis. But, steeled by all this early music, I did prevail for once this day.
Sadly, we have no photo or video of Colin’s performance. Actually, that might be just as well.
Let’s sign off instead with some more Flauguissimo Duo – not a piece we heard on that day but a really lovely rendering of some Gluck and a chance to see Johan Löfving’s guitar playing and some beautiful virtuoso flute playing by Yu-Wei Hu:
To some extent I was still basking in the glory of last night’s real tennis match, in which I had played a small but decisive part in the MCC’s recovery from near defeat to eventual victory against Middlesex University by three rubbers to two. In truth it was the incredibly exciting fourth rubber which turned the contest – our pair had some five match points against them in their rubber before turning it around. I played in the deciding fifth rubber.
The original plan for this SJSS lunchtime concert had been to go with John Random, but he had to pull out of this one. So I even considered missing out myself.
Wild Gypsy fiddling, Jewish and Greek music, and tango, alongside interpretations of Japanese, Polish and Sephardic songs…
…was just what I needed before going to the office on a Thursday afternoon. Not least because we have just returned from Japan, where we came across very little actual Japanese music…
Anyway, I’m very glad I made the decision to go to SJSS that lunchtime and see the Kosmos Ensemble perform.
They are three very talented young musicians who met while studying at the Royal Academy of Music and formed this ensemble as a vehicle for their shared interest in world music.
Actually I don’t think we got any “Sephardic Songs” as promised, but we did instead get a Serbian lament and some Scandinavian music, plus even some Scottish and English themed music.
Some pieces worked better to my ears than others – one or two of the pieces inserted phrases from well-known works at a level of subtlety that might even make PDQ Bach blush. I sense that all three of them are most at home with Eastern-European melodies and rhythms – but their virtuosity and curiosity help compensate for those elements of the programme that were not quite to my taste – I pretty much enjoyed the whole set.
For me the highlights were:
the Japanese-style piece Sakura (Cherry Blossom):
a version of Piazolla’s Libertango with a sort-of Klezmer cadenza at the end, which they have nicknamed “Liberklezmango”:
All three of the musicians: Harriet Mackenzie, Meg-Rosaleen Hamilton and Miloš Milivojević are clearly embarking on highly successful careers and I wish them well individually and as an ensemble.
The idea of seeing this concert was partly hatched from John Random’s desire to see some lunchtime early music with me. A couple of suitable Thursday dates were either no good for him or no good for me. But this Friday one, during the London Baroque Festival, looked bang on.
The timing was good too, as Janie had arranged to tour the new extension of the Royal Academy at 15:00 that afternoon. Janie very much liked the look of Les Kapsber’girls lunchtime programme.
As John’s availability is subject to the whims of showbiz administrators, the unreserved seating at SJSS makes it a suitable concert venue for an aproximeeting. I bought tickets for me and Janie, knowing that John would be able to get one on the day if he proved to be available.
The e-mails buzzed over the coming days. There was to be a costume fitting for John, so our gathering was off. The costume fitting had been cancelled – John was on again. The fitting was reinstated – off again.
At that juncture I tried to guilt-trip John…with my tongue rather firmly in my cheek, I might add:
John, John, John…
…I can’t handle all four of those Kapsber’girls on my own. And I’m not so keen on your two. No, no, no, two ladies is plenty:
…so I identified the instruments to John while we were waiting for the concert to start…
…but I got more instruments wrong than right. The big thing I thought was a theorbo turned out to be an archlute; the smaller thing I thought was the archlute was actually a tiorbino (a miniature theorbo), the existence of which only became known to me on the day; the small viol I took to be a treble viol was the even smaller pardessus de viole – a soprano viol which, again, was a new instrument to me on the day. Top mansplaining on my part – waxing lyrical while getting most of the facts wrong – I must have sounded like Alan Partridge to an expert observer.
The concert was absolutely charming – as were all four of the Kapsber’girls. They are very young and relatively new to performance at this level; not all of them displayed professionally-grooved stage presence throughout the hour, especially when sitting out the odd piece. But they all four play or sing beautifully and are surely all on the road to success.
The music was early 18th century French popular songs, known as “airs de cour” or “brunettes”. Two voices and two instruments. These songs were published in the early years of the 18th century by Christophe Ballard and were phenomenally popular in France during that latter part of Louis XIV’s reign.
Here is a little vid of “our girls” performing one or two of the songs we heard:
…and if all that leaves you in the mood to hear some actual Kapsberger (and believe me it’s worth it) here are Les ‘Girls playing and singing some actual Kapsberger:
Of course we didn’t hear any actual Kapsberger in our concert; the focus was entirely on the French airs de cour.
Janie snapped this during the final, lengthy applause
John, true to his word, made an approach to one of the girls after the concert – probably to try to understand the difference between the theorbo, the archlute, the chitarrone…that might have been a long, complicated conversation. Anyway, Albane Imps kindly chatted with and then posed with John:
Is that a tiorbino in your pocket, John, or are you just pleased to see me?
We took a snack lunch in the crypt after the concert (Janie’s favourite place at SJSS) where we met a couple of Kapsber’girls again – Axelle Verner chatted with us charmingly for a while – before the girls headed off, returning to France that very day.
The girls were very self-conscious about the quality of their spoken English, although John’s assessment (and he does teach English as a foreign language) is that their spoken English is actually very good. John remarked that the French accent is a very forgiving accent for spoken English – especially when the words are delivered by charming young people! So snap out of it girls – your English is just fine.
John seemed a little star-struck, so we conducted a filmic thought-experiment in which John might make a brief-encounter-like dash to St Pancras for a touching farewell scene with Les ‘Girls, but sadly John decided against.
Not all that many people composed baroque music for eight voices and two instruments, but let’s try naming my thought experiment combination of The Gesualdo Six and The Kapsber’girls “The Zieleński Ten“.
John was clearly inspired by the “baroque girl power” he had seen, so he parted company with us in search of Millicent Fawcett’s statue, at Parliament Square, while Janie and I went on to our appointment with the new extension of the Royal Academy.
In fact it isn’t really a new extension – it is the old Burlington Gardens building behind the main building, which has been conjoined with the main building to bring the whole of the Royal Academy together. This project has been donkey’s yonks in the making and Janie was very excited, as a member, to be allowed a sneak-preview before the doors opened to the public that weekend. Here is a link to a page and vid that explains it all.
Before wandering around and poking our noses into all the new bits of the Academy, we took a quick look at the first exhibition in the new space – Tacita Dean, Landscape – click here for the RA resource on that exhibition. Not especially to our taste, in truth – we were there for the opening more than for this exhibition – but I did like several of the works that fused photographs with spray-on chalk and gouache. One or two of the larger ones were truly stunning and also, strangely, the technique worked well in miniature on postcards.
Then we wandered around the Burlington Gardens extension.
Tim Marlow himself was there, available to chat with the members. We didn’t chat directly with him, but we did chat with several members of staff who were visibly excited about the whole thing. Extra exhibition space, workshop space, studio space and a soon-to-be completed lecture hall with all the modern gadgetry:
Ged is desperate to deliver the first lecture in this place…
…”this beautiful Burlington Gardens building dates from 1831…”
We then retired back to the City quarters for siesta before grabbing some Persian food and retreating to Noddyland for the weekend. We’d had a super cultural day.
This ensemble was recently involved in a French TV series about Versailles – said to be the most expensive ever made in France – here is a short musical extract from the TV programme:
Mercifully for the down to earth SJSS audience, Fuoco E Cenere did not ponce about in 17th Century wigs and outfits for our concert.
Here is a more down to earth vid and interview about Les Folies d’Espagne by Marais, which they did play on the night:
The highlight of this concert, for us, was the singing of the young guest soprano, Theodora Raftis. She has an outstanding voice and tremendous stage presence. She seemed a little overwhelmed by the occasion at first, but it was great to see her warm to her work and become the highlight of the show by the end of the concert. She was clearly well appreciated by the audience and her fellow performers. Remember the name: Theodora Raftis. Not much of her to be found on-line, but here is some Donizetti – trust us, she’s upped her game big time since this vid was recorded:
https://www.youtube.com/watch?v=sszddZG0cEQ
The Platters
No , we didn’t see a 1950s vocal group, but we did eat charcuterie and cheese platters with salad and a glass of wine between the concerts. I won’t dwell on the shenanigans involved in booking a table and arranging the platters – let’s just celebrate the fact that waiters David and Ramon did us proud and that we thoroughly enjoyed our twixt concert supper.
Paris-Madras
It was this second concert that really inspired me to book the evening – the notion of a fusion of French Baroque and Indian raga music. How on earth might that work? Well, it pretty much did.
Le Concert De L’Hostel-Dieu provided the baroque element. In truth, we got more out of the ragas than we got out of the Leçons de Ténèbres. The wonderful weather of the previous week had turned to miserable cold weather that day, so neither of us was much in the mood for the lamentations of Jeremiah. More seriously, we’d seen the Leçons de Ténèbres quite recently and didn’t realise that the concert would pretty much give us the whole lot un-fused with the ragas…plus ragas unfused with the lamentations.
…artefacts from the raga element
On the ragas, in particular, we liked the bansuri flute and the sarod. Soumik Datta, the sarod virtuoso involved, is far more rock’n’roll than the rest of the performers on show that night. Here is his showreel:
Below is the explanatory vid in French about the Paris-Madras project, in which you can hear Ravi Prasad sing and Patrick Rudant play his flute, as well as the baroque players of course:
The absolute highlight of this concert for us was the few passages when the musicians segued between the two styles and the ending when they all played together. Perhaps they judged the fusion to be risky, so they minimised its use, but to our mind it was a risk that came off big time and the fusion was the reason we went to see the concert.
Anyway, we came out the other side of the evening feeling very pleased with the whole occasion.
The week had somewhat run away with me, though, having ruled out much of the previous work day unexpectedly for Hazel Jacobs’s funeral, followed by the Middlesex CCC AGM, which also had a somewhat funereal feel to it this season.
Anyway, I got to the office after an early meeting at the LSE and managed to get my office stuff done by the appointed hour, so I was able to hot-foot it to SJSS on time.
A jolly looking harpsichord
I thought Tabea Debus came across really nicely – showing great enthusiasm and academic interest in her instrument and the topic of the concert, while projecting also the poise and folksiness of a true show-person. A star in the making.
She has previous at SJSS and they in fact made a short vid for her first mini-residency as a young artist a couple of years ago – see below:
The concert I saw was mostly Telemann – the theme being the subscription lists Telemann developed during his masterful music business career, plus the high-falutin’ composers who were among his subscribers and friends; Bach, Handel and Blavet.
Below is a video of Tabea performing some delicious Telemann, but not the stuff we scoffed that lunchtime:
Tabea also played a couple of modern works which were part of a commission commemorating the 250th anniversary of Telemann’s death. One of those, Frank Zabel’s “…fizzling out” was extraordinarily complex-sounding and must be a real challenge to play.
Then on to a music lesson for my humble skills – although Ian Pittaway seemed surprisingly pleased with my simple transcription of a Loqueville Rondo.
Then on to punish myself with two real tennis singles matches at Lord’s – 135 minutes unbroken is too long for an old geezer like me.
But I digress.
That lunchtime at SJSS was an hour supremely well spent. I’ll be looking out for Tabea Debus’s name again, that’s for sure.
