A lot of you have been asking when I will start a new a cappella group. Well folks, the time has come. I'm pooling together singers for a brand-new group specialising in contemporary a cappella repertoire. I'm passionate about the stuff and it's my musical drug of choice. There is so much exciting new repertoire out there and I'm thinking of forming a group who are prepared to tackle anything experimental, exciting, new and different.
Basic requirements from my side
1 x 2 hour rehearsal in SE London per week to start off with.
Open mind/voice/attitude.
Some contemporary music experience would be fab, but not necessary.
Availability with prior arrangement for gigs.
That's all folks. If you have an up-for-it attitude and fancy a go at exploring some new repertoire drop me a line. Ideally looking for an 8-person (SSAATTBB) lineup.
geocham@aol.com / 07789 114918
Showing posts with label live music. Show all posts
Showing posts with label live music. Show all posts
Thursday, 2 February 2012
Sunday, 21 August 2011
Simple Pleasures
Excited by: Getting home to my flat after a manic Edinburgh week
Listening to: The Oxford Gargoyles' new album 'Flyin' Right'
Cups of coffee achieved: 3 train coffees, bleurgh.
Let's start with a joke...
'knock knock'
'who's there?'
'knock knock'
'who's there?'
'knock knock'
'who's there?'
.....
'Steve Reich'
I always remember when an old tutor of mine told me this. It's my standard musical geek joke to bring out at any minimalist gig. I was lucky enough to head out to the late night prom last Wednesday and see the stellar team that was Steve Reich, Mats Bergstrom, Rainer Romer, Ensemble Modern and Synergy Vocals. It was packed! There was an incredible sense of occasion with a great mix of prommers.
Thing is, from this gig and from the same programme I saw a couple of years back at the Fesitval Hall, I have come to learn a really important thing - for me, minimalism is such a great entry into the world of 'classical' music. I have to say I was always the one with my pencil tirelessly trying to figure out when semiquavers change to quavers, when the line is passed between instruments, when and why Reich changes the lines the way he does. As I lay in the arena of the Albert Hall (yes, many people were laying down. Very odd hearing Reich and seeing the huge UFO-like sound reflectors above you) I just closed my eyes and let everything wash over me. Suddenly I really got a sense that this music, especially 'Music for Eighteen Musicians', just works. I was engrossed, bedazzled and generally so impressed by the whole thing.
I have to admit - hearing 'Clapping Music' in the Albert Hall is a bit of a joke. Even the best of UFO-esque acoustic technology couldn't hide the fact that when heard closely it sounded like three people clapping due to the horrendous echo. But hey, what can we do? we're lumbered with the palace of hellish acoustics which is the Albert Hall, so I suppose we have to just accept that. 'Music for Eighteen Musicians', however worked a lot better, due to the bigger forces involved. No prizes for guessing the size of the ensemble. What makes this work simply magical is Reich's use of incredibly varied textures and timbres underpinned by a rhythmic drive which seems to saunter you along this beautiful musical journey. Something else Reich just seems to bask in is using voices as instruments as the incredible Synergy Vocals showed us. Synergy deliver the parts on mic with crystal clarity - they shine through but never overpower any of the other instruments.For Reich it seems, everyone is equal, and this produces such a refreshing sound. Every time I see Synergy, I just want to see them again and again. They are a real credit to contemporary vocal music. A wonderful wonderful ensemble
So my tip for this week? Have a listen to Music for Eighteen Musicians. Don't try and sit there analysing it, but just let it be the wonderfully crafted piece of music that it is.
Listening to: The Oxford Gargoyles' new album 'Flyin' Right'
Cups of coffee achieved: 3 train coffees, bleurgh.
Let's start with a joke...
'knock knock'
'who's there?'
'knock knock'
'who's there?'
'knock knock'
'who's there?'
.....
'Steve Reich'
I always remember when an old tutor of mine told me this. It's my standard musical geek joke to bring out at any minimalist gig. I was lucky enough to head out to the late night prom last Wednesday and see the stellar team that was Steve Reich, Mats Bergstrom, Rainer Romer, Ensemble Modern and Synergy Vocals. It was packed! There was an incredible sense of occasion with a great mix of prommers.
Thing is, from this gig and from the same programme I saw a couple of years back at the Fesitval Hall, I have come to learn a really important thing - for me, minimalism is such a great entry into the world of 'classical' music. I have to say I was always the one with my pencil tirelessly trying to figure out when semiquavers change to quavers, when the line is passed between instruments, when and why Reich changes the lines the way he does. As I lay in the arena of the Albert Hall (yes, many people were laying down. Very odd hearing Reich and seeing the huge UFO-like sound reflectors above you) I just closed my eyes and let everything wash over me. Suddenly I really got a sense that this music, especially 'Music for Eighteen Musicians', just works. I was engrossed, bedazzled and generally so impressed by the whole thing.
I have to admit - hearing 'Clapping Music' in the Albert Hall is a bit of a joke. Even the best of UFO-esque acoustic technology couldn't hide the fact that when heard closely it sounded like three people clapping due to the horrendous echo. But hey, what can we do? we're lumbered with the palace of hellish acoustics which is the Albert Hall, so I suppose we have to just accept that. 'Music for Eighteen Musicians', however worked a lot better, due to the bigger forces involved. No prizes for guessing the size of the ensemble. What makes this work simply magical is Reich's use of incredibly varied textures and timbres underpinned by a rhythmic drive which seems to saunter you along this beautiful musical journey. Something else Reich just seems to bask in is using voices as instruments as the incredible Synergy Vocals showed us. Synergy deliver the parts on mic with crystal clarity - they shine through but never overpower any of the other instruments.For Reich it seems, everyone is equal, and this produces such a refreshing sound. Every time I see Synergy, I just want to see them again and again. They are a real credit to contemporary vocal music. A wonderful wonderful ensemble
So my tip for this week? Have a listen to Music for Eighteen Musicians. Don't try and sit there analysing it, but just let it be the wonderfully crafted piece of music that it is.
Tuesday, 8 February 2011
Apex? What Apex? Who? Where?
Excited by: My first pay packet as a qualifullyfied PR freelancer
Listening to: Kapustin Concert Études (especially 'Pastoral')
Cups of Coffee achieved: 1... bucket
I came back from my regular charity shop rounds of Bury St Edmunds yesterday feeling extremely proud of my two purchases: Messiaen's 'Catalogue D'Oiseaux' and a good edition of Dido & Aeneas, each for a bargainous £2.99. After parading my purchases to my disinterested parents I spoke to a neighbour (who was round gossiping about some house or another, as neighbours do) about the new venue in Bury St. Edmunds, The Apex. The conversation went something along these lines:
G: So I went and had a look at the new venue in Bury
Neighbour: What venue?
G: The Apex
Neighbour: The what?
G: The Apex, that new 500-seat venue...
Neighbour: what? where? how? (general look of confusion begins to appear)
Bury St Edmunds has been blessed with an incredible new music venue, and the weird thing, no-one outside Bury knows about it. You'd think that £18.6 million, 500-seat venue would invest in some publicity outside of the confines of a small market town, but no. What St Edmundsbury council (who run the venue) have truly failed to do is get the word out there. Working in the media has really made me see how important PR is - apart from a few 'how much is this going to cost the taxpayer' stories, nothing has been said.
I often get annoyed at councils and their inability to promote any kind of cultural activity. My local council, who have to deal with the cultural dive which is Newmarket, employ a full time culture officer. Due to the lack of concerts (i've known about 3 and i've lived here for 22 years) I emailed twice, called and wrote two separate letters offering free recitals, and didn't even get a response. Three cheers for local councils and their great work promoting culture to the youth of today.
So tell everyone about the Apex. I had a long chat to the receptionist yesterday and she told me that locals had been complaining about it. I mean, come on. What is there to complain about? West Suffolk didn't have any kind of performance venue, and if you're going to build one, it might as well be good! Trust Suffolk to complain. Bury St Edmunds truly is, and forgive me for using the phrase, 'up and coming'. And what better way to really push this town forward than build a really impressive venue. As much as councils annoy me for not getting the word out about cultural events and activities, I hope the Apex becomes the success it deserves to be. They've certainly been getting some great acts in, and the Bury Festival later on this year will bring some great names i'm sure.
Listening to: Kapustin Concert Études (especially 'Pastoral')
Cups of Coffee achieved: 1... bucket
I came back from my regular charity shop rounds of Bury St Edmunds yesterday feeling extremely proud of my two purchases: Messiaen's 'Catalogue D'Oiseaux' and a good edition of Dido & Aeneas, each for a bargainous £2.99. After parading my purchases to my disinterested parents I spoke to a neighbour (who was round gossiping about some house or another, as neighbours do) about the new venue in Bury St. Edmunds, The Apex. The conversation went something along these lines:
G: So I went and had a look at the new venue in Bury
Neighbour: What venue?
G: The Apex
Neighbour: The what?
G: The Apex, that new 500-seat venue...
Neighbour: what? where? how? (general look of confusion begins to appear)
Bury St Edmunds has been blessed with an incredible new music venue, and the weird thing, no-one outside Bury knows about it. You'd think that £18.6 million, 500-seat venue would invest in some publicity outside of the confines of a small market town, but no. What St Edmundsbury council (who run the venue) have truly failed to do is get the word out there. Working in the media has really made me see how important PR is - apart from a few 'how much is this going to cost the taxpayer' stories, nothing has been said.
I often get annoyed at councils and their inability to promote any kind of cultural activity. My local council, who have to deal with the cultural dive which is Newmarket, employ a full time culture officer. Due to the lack of concerts (i've known about 3 and i've lived here for 22 years) I emailed twice, called and wrote two separate letters offering free recitals, and didn't even get a response. Three cheers for local councils and their great work promoting culture to the youth of today.
So tell everyone about the Apex. I had a long chat to the receptionist yesterday and she told me that locals had been complaining about it. I mean, come on. What is there to complain about? West Suffolk didn't have any kind of performance venue, and if you're going to build one, it might as well be good! Trust Suffolk to complain. Bury St Edmunds truly is, and forgive me for using the phrase, 'up and coming'. And what better way to really push this town forward than build a really impressive venue. As much as councils annoy me for not getting the word out about cultural events and activities, I hope the Apex becomes the success it deserves to be. They've certainly been getting some great acts in, and the Bury Festival later on this year will bring some great names i'm sure.
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