| |
UK
National
Panorama
Steelband
Competition
2018 at the
Emslie
Horniman
Pleasance
Park: August
25 |
 |
|| August 09: 2018
|| ά. UK National
Panorama Steelband
takes place at the
Emslie Horniman
Pleasance Park at
Bosworth Road, W10
3DH on Saturday,
August 25 at
18:00-23:00,
preceding the
Notting Hill
Carnival taking
place this year on
August 25-27. 100%
of the money raised
from the sale of
tickets will be
distributed equally
among all the
performing bands as
a simple mark of
appreciation and
respect for such
incredible
entertainment and to
help them recover
some of the large
expenses that they
incurred in creating
their performances.
Tickets are
available now from
eventbrite.co.uk at
£05.
For the first time,
the competition will
be brought inside of
Emslie Horniman
Pleasance Park,
where traditionally
it has taken place
outside. This move
will give the
audience and bands a
far greater and
engaging experience.
With a capacity of
6,000, there will,
also, be incredible
food stores selling
traditional
Caribbean food and a
bar will be in
operation inside the
park for the entire
evening. With a deep
and rich history,
the first UK
Panorama Competition
took place in 1978.
It has since gone on
to become the UK's
most important
steelband
competition with
bands of up to 120
people rehearsing
and fine-tuning
their skills
throughout the year
for a chance of
being named the
coveted winner by
impressing a panel
of judges.
Mr Matthew Phillip,
the Executive
Director of Notting
Hill Carnival Ltd,
says, “Panorama is
truly one of
London’s
undiscovered gems
and I would
encourage anyone,
who has not had the
pleasure of watching
a full steelband
perform to come
along. You can watch
and listen to a
steelband online but
that is nothing
compared to watching
and hearing up to
100 people playing
steel pans in such
unity live; it is a
sight and sound like
no other!”
The six bands
competing this are:
Croydon Steel
Orchestra
Ebony
Mangrove
Metronomes
Phase One
Reading All Steel
Percussion
Orchestra:RASPO
About Notting Hill
Carnival Ltd: After
a successful bid to
be the official
organisers of
Notting Hill
Carnival 2018, C.V.T.
incorporated Notting
Hill Carnival Ltd.
on January 8th
2018. Notting Hill
Carnival Ltd will
develop, create and
implement the
structure and
strategy to deliver
on all that is set
out in the Carnival
Village Trust bid
for Notting Hill
Carnival 2018.
Carnival Executive
Director, Matthew
Philip and Carnival
Director Tara Hobson
have been involved
with the carnival
arts for over 25
years and 6 years
respectively. Having
worked in the heart
of the Notting Hill
community running
The Tabernacle and
the Yaa Centre for
five years, they are
central to the
area’s arts
provision. These
connections have
allowed for the
quick engagement
with the community
and will ensure a
great working
presence in 2018 and
beyond.
Carnival Village
Trust: Established
in 2007, Carnival
Village Trust or
C.V.T. is a
registered charity
that is located in
the heart of Notting
Hill’s remarkable
and diverse
community. As
London’s development
agency for Carnival
Arts, C.V.T. has
championed the
traditional
Caribbean carnival
art forms that spawn
the artistic
expression at the
epicentre of
Europe’s largest
street event:
Notting Hill
Carnival.
C.V.T. is an
independent
organisation
receiving primary
funding from Arts
Council England and
the Royal Borough of
Kensington and
Chelsea to deliver
an integrated
programme of
carnival arts across
two venues: The
Tabernacle and The
Yaa Centre.
C.V.T. operates all
year round
delivering a diverse
programme of
Carnival Arts and
African Caribbean
events including
workshops, classes,
theatre productions,
music performance,
dance performance,
mas band launches,
book launches, art
and photographic
exhibitions, comedy
and film. C.V.T.
aims to deliver
artistic productions
and educational
programs of a high
standard, seeking to
expand the
boundaries of
Carnival Arts and
promote their
delivery to a wide
and diverse
audience.
The Tabernacle,
also, hosts a
restaurant and bar
and serves as a
communal hub for the
local community, a
home from home. Both
venues offer
dedicated and
well-equipped arts
spaces for hire at
subsidised rates.
For generations
these two venues
have been central
spaces for the
operational
coordination and
artistic showcasing
of the Notting Hill
Carnival and its
artistic expressions
as well as being the
base, meeting place
and registered
addresses of the
five Carnival Arts
arenas and previous
Carnival organisers,
London Notting Hill
Carnival Enterprises
Trust.
About Panorama:
Throughout the year
all across the UK
steelbands have been
rehearsing and
fine-tuning their
skills for this very
important date on
the pan lovers’
calendar – one of
the largest steel
pan competitions
outside of the
Caribbean.
The Panorama
National Steelband
Competition sees six
bands play a
ten-minute
composition from
memory – no sheet
music is allowed.
Panorama
competitions are
traditionally
open-air events and
Notting Hill
Carnival's Panorama
is no exception.
Watch the sunset,
eat Caribbean street
food and enjoy the
sweet sound of pan
whilst the
steelbands get on
with the serious
business of
impressing the
judges. The
steelbands will
proudly hold their
ranked titles until
next year... when we
do it all again.
About Notting Hill
Carnival: Claudia
Jones, a Trinidadian
human rights
activist based in
London, put on a BBC
broadcasted indoor
‘Caribbean Carnival’
at St Pancras Town
Hall back in 1959.
She is widely
credited with
planting the seeds
for carnival in the
UK by doing so. With
the blueprint set,
an appetite for the
indoor Caribbean
carnival was fed by
the likes of
Trinidadian husband
and wife booking
agents Edric and
Pearl Connor who
along with others
including The West
Indian Gazette were
promoting the indoor
events in halls
dotted around London
well into the 1960s.
It wasn’t until 1966
when the first
outdoor festival
took place in the
streets of Notting
Hill. A local
resident and Social
Worker Rhaune
Laslett, a Londoner
of Native American
and Russian descent,
organised an event
for local children.
A community activist
with a history of
easing racial
tension in the area
since the race riots
of the 1950s, she
set out to include
the local West
Indian residents in
her event. She
invited well-known
pan player Russell
Henderson, who was
joined by his pan
band members
Sterling Betancourt,
Vernon ‘Fellows’
Williams, Fitzroy
Coleman and Ralph
Cherry. The band was
already popular
amongst the
Caribbean community
as they were
regulars at the
indoor carnival
events, and so as
Laslett had
intended, many local
Caribbean residents
did in fact attend,
and her vision of an
outdoor
multi-cultural
community
celebration was a
huge success. It saw
Henderson’s
steelband weave its
way through
Portobello Road, as
a trail of locals
spontaneously
gathered and danced
in the street to the
sound of pan. The
first Notting Hill
Carnival was born.
Today Notting Hill
Carnival is still
proudly a very
community-lead
event, however, its
ever-increasing
popularity over the
last 5 decades has
seen it swell to
become the
wonderfully diverse
and vibrant event it
is today. With over
a million expected
over the August bank
holiday, it’s second
only to Brazil’s Rio
carnival in size.
And whilst Notting
Hill Carnival is
well-rooted in
Caribbean culture
and its Windrush
generation influence
is strongly evident,
it is at the same
time uniquely
‘London’. Today’s
London. It’s the
only large carnival
in the world to
feature static sound
systems that were
introduced in 1973
by promoter Leslie
Palmer. That
contribution from
Jamaican culture now
sees approx 38 sound
systems playing
every genre of music
from reggae to
house, from blues to
afrobeats and almost
everything in
between, with
world-renowned DJs
and the likes of
Stormzy and Wiley
taking to the mic.
There are live stage
performances too,
with the first
organised by Wilf
Walker in 1979 when
the line-up was
predominantly reggae
and punk. The live
stages have given us
performances from
emerging talent like
Aswad and Eddie
Grant who both went
on to become two of
the UK’s biggest
musical exports to
the likes of hip
hop’s legendary Jay
Z, Lil’ Kim and
Busta Rhymes all
hitting an NHC stage
the same year.
Carnival attracts
and appeals to,
people from all over
the world, from
small children to
the elderly. It
evokes passion and
joy and means
different things to
different people...
But one thing that
it definitely means
to all is
UNITY.:::ω.
|| Readmore
|| 100818 || Up ||
The Southern Jazz in the House |
|| March 22: 2018: University of Southampton News ||ά.
Turner Sims Southampton, part of the University of
Southampton, will receive over £315,000 for an ambitious
scheme to, significantly, raise the aspirations of
emerging and professional jazz artists, standards of
performance, composition and promotion across the UK’s
Southern regions. Turner Sims will now launch a
three-year talent development programme Jazz South, the
only music project in the country selected within the
final round of the Arts Council England’s Ambition for
Excellence programme fund.
Through Jazz South, established and emerging artists and
gifted and talented children and young people, will work
with promoters and leading UK and international figures.
New work will be commissioned and talent and excellence
developed through masterclasses and residencies. Jazz
South will benefit from Turner Sims’ strong track record
in jazz promotion, development and commitment to
broadening the reach and raising the profile of the
sector. Talent development opportunities will be offered
throughout the Arts Council’s South West region, in
addition to the central and southern parts of Arts
Council’s current South East region, from
Buckinghamshire to Kent.
The University’s own world-leading Music department, one
of the largest and most diverse in the UK, will be
involved in the project. Mr Kevin Appleby, Turner Sims
Concert Hall Manager, said of the award, “This is a
hugely exciting moment for Turner Sims and I’m most
grateful to Arts Council England for their support.
This investment enables us to realise our aspirations
for creating new opportunities for the jazz sector in
the South of England. I know from the conversations we
have had with a range of organisations and individuals
across the region already that there is a great appetite
for this and I look forward to working with partners
regionally, nationally and internationally to bring
these opportunities to life.”
Sir Christopher Snowden, President and Vice-Chancellor
at the University of Southampton, said, ''The University
welcomes this funding for its renowned concert hall and
is proud to be supporting this significant sector
development, playing a leading role in talent
development for jazz artists of all ages. As custodians
of culture in Southampton, this extraordinary project is
testimony to our University’s determination and
commitment to the fundamental role, that arts and
culture play and further underpins our essential role in
nurturing new talent.”
Mr Phil Gibby, Area Director, South West, Arts Council
England, said, “We’re delighted to be supporting Turner
Sims with a significant grant of £315,755 through our
National Lottery-funded Ambition for Excellence
programme. The fund supports and stimulates ambition,
talent and excellence in arts and culture across England
and our investment in Jazz South looks set to support a
step change in jazz music across the south west and
south east of England.
Turner Sims,
already, has a distinctive jazz programme with fantastic
links across Europe and this investment will enable this
identity to grow by developing young, emerging and
established talent, creating new commissions and
building different and diverse audiences. We are excited
to see what the next three years have in store for jazz
in the region, nationally and beyond.”
Turner Sims will be announcing the details of the first
tranche of programme activity in summer 2018. ω.
||
Readmore
||
‽: 220318
||
Up
||
A Music-Soul: A Soul-Music: Kaija Saariaho Honoured with
the
BBVA Foundation Frontiers of Knowledge Award
in Contemporary Music
|
|| February
23: 2018 || ά. The BBVA Foundation Frontiers of Knowledge
Award in the Contemporary Music category goes, in this tenth
edition, to Finnish composer Ms Kaija Saariaho on the basis of
'a contribution to contemporary music, that is extraordinary in
its individuality, breadth and scope'. From her earliest works,
the jury continues, Ms Saariaho has exhibited 'a seamless
interweaving of the worlds of acoustic music and technology', a
quality, which the new laureate remarked, after hearing of the
award, had come to her quite naturally. When she started
studying music at the Sibelius Academy in Helsinki, she was
frustrated at the acoustics of the venues she would attend to
hear live performances.
Wondering, if, it was
possible to alter characteristics like the volume of the
instruments, she began recording them and processing the sound
for subsequent playback. In 1982, she moved to Paris to continue
her training at the Institut de Recherche et Co-ordination
Acoustique:Musique:IRCAM, where she came into contact with the
leading exponents of spectralism. The spectralist technique of
decomposing sound left a recognisable imprint on Ms Saariaho’s
writing in the form of electronic arrangements and
computer-generated sounds. The combination of synthetic sounds,
classical instrumentation and elements of nature shines through
in early works like Lichtbogen, 1986, inspired by the Northern
lights. “Coming from Finland, of course, has made me more
sensitive to nature.” she explains.
“And this has a lot to do
with the acoustics. When you walk through a big forest after the
rain, the acoustics are very different, because the leaves are
wet and that creates a reverberation. The forest is like a
church. The same thing happens with snow, which creates a very
particular silence. These childhood experiences are part of me
and part of my music.” Ms Saariaho, also, acknowledges the
influence of electronics and technology in her oeuvre to the
extent that they have helped her pursue her chosen direction.
However, she does not see
them as the core element. “My aim is that the listener doesn’t
perceive the frontiers of the electronic component in my music.
It is part of the orchestration. When there is something I can
not do with natural instruments, I turn to computers, then I
complete the orchestration, the musical idea.”
For the jury, Ms Saariaho’s music has 'a unique quality, that
is, almost, as visual as it is sonorous'. And one that is
steeped in imagination. As she says, “I have always loved music,
as long as I can remember. My mother told me that at night when
I was going to sleep, I would start to imagine that I was
hearing music. So much so that I couldn’t fall asleep and would
ask her to ‘turn off the pillow.’ Music has always been in my
mind and my imagination.”
Ms Saariaho initially thought that her music was not dramatic
enough for opera. Nonetheless, the idea stuck in her mind. The
definitive push came with a Peter Sellers production of Olivier
Messiaen’s Saint François d’Assise, performed at the Salzburg
Festival, which she describes as 'liberating' and 'a sign', that
she could venture into the opera genre. “It was a lengthy
process.” she recalls now. “Lasting about eight years in all. At
first, I didn’t know who would be interested or if I could do
it. But, finally, the means came together to make it possible.”
In the year 2000, back at the Salzburg Festival, she was present
for the world premiere of her first opera L’Amour de loin, with
a libretto by the Lebanese writer Mr Amin Maalouf. Its success,
notes the jury, positioned Ms Saariaho at the forefront of a
world in which women have, traditionally, been underrepresented.
Asked whether being a woman meant she had to work harder, she
offers a meditated response, “It was undoubtedly an obstacle,
when I was a young composer trying to get a start and it still
is for many young women today. But now that I have made a name
in music, I don’t experience it as a problem.”
She has followed up L’Amour de loin with a further three operas,
Adriana Mater, 2006, Émilie, 2010 and Only the Sound Remains,
2015, all of which address themes she considers important for
humanity. “Love is one.” she relates. “And another is death.
Both are great mysteries, that form part of our lives.”
Ms Saariaho is an eminently versatile author, known for her
ability to switch genre. She has written for soloists and
chamber groups and composed orchestral works, operas, oratories
and vocal, incidental and electronic music. Her four operas,
along with her chamber and orchestral music repertoire, are
familiar ground to Conductor Mr Ernest Martínez Izquierdo, who
has directed every work of hers in a collaboration dating back
twenty-five years. He talks admiringly of how she has carved out
a path in a male-dominated profession.
“It hasn’t been easy but she
knows what she wants and doesn’t stop until she achieves it. She
comes over as very sweet and never raises her voice; but she has
character and, if, she doesn’t like something she says so. She
is honest and forthright.”
Mr Martínez Izquierdo admits that Ms Saariaho’s music is a
challenge to perform. ''But not because the score is very
complex, as might happen composers like Boulez, but because you,
also, have to grasp her musical poetics. Her music is more than
the notes, it is, also, colour. And to perform it, you have to
coax that colour from the sounds. Her approach to the orchestra
starts from electronics and she knows how to get the musicians
to produce effects and sounds from that world, which she then
fuses with actual electronics. The result is that both sounds
merge so smoothly you can not tell them apart.
As a writer she is always thinking of the performer and is very
loyal to those she has worked with. She spoils us and gives us
an unaccustomed degree of freedom. With other composers, you can
feel like a metronome; she makes you part of the creative
process in a way very few authors do, which is why I cherish
working with Kaija.”
Perhaps this freedom flows from the importance that the Finnish
composer accords to creativity, the bridge, as she sees it,
between science and culture. “All the great inventions come from
creative minds, so there are obviously many meeting points
between the two worlds. I follow scientific developments with
great interest, especially, in the domain of music and
acoustics.”
Ms Kaija Saariaho is currently working on what will be her fifth
opera. “It is a long piece, that I started on some years ago and
I will continue working on it until early 2019.”
The jury in this category was chaired by Mr Nicholas Cook,
Emeritus Professor of Music at the University of Cambridge, UK.
The secretary was Mr Pwyll Ap Sion, Professor in Music in
the School of Music at Bangor University, UK. Remaining members
were Mr Tom Huizenga, a music Producer, Reporter and Editor for
radio network NPR Music, Violinist Ms Leila Josefowicz, Mr
Andrew McGregor, a Broadcaster with BBC Radio Three and Mr Alex
Ross, Music Critic and Staff Writer on The New Yorker.
The Contemporary Music award in last year’s edition went to
Russian Composer Ms Sofia Gubaidulina for the 'spiritual
quality' imbuing her work and 'the transformative dimension of
her music'.
ω.
Kaija Saariaho
The Humanion Suomi Sata Finland One Hundred Edition:
December 06: 2017
Celebrations of Suomi: The People: The Language: The
Culture: The Land: The Country: The Nation: The
Government: The State: At the Heart Equity, in the
Ethos Equality, at the Sight Liberty, in the Soul
Rule of Law and in the Music Natural Justice in
Beauty's Blooms and Calls: Always Rising to Reach,
Stride and Strive for Higher Reaches of Higher Golds
and Farther Realms to Be at Home in Peace and Law,
in Humanity and Love as One in All and as All in One
and in the World Among the Assembly of the Humanion:
Me Olemme Suomen-Sisuvian Souls: Hyvää
Itsenäisyyspäivää
Suomi, the Centenarian Vanhanainen, the Eternal
Yksi-Ruusuomi! The Kalevala: The Suomivala: Happy
Independence Day Suomi! The Humanion: December 06:
2017
|
Whatever Your Field of Work and Wherever in the
World You are, Please, Make a Choice to Do All You
Can to Seek and Demand the End of Death Penalty For
It is Your Business What is Done in Your Name. The
Law That Makes Humans Take Part in Taking Human
Lives and That Permits and Kills Human Lives is No
Law. It is the Rule of the Jungle Where Law Does Not
Exist.
The Humanion
New CD Celebrates the Works of Sir James MacMillan: Launch
Concert at the University of St Andrews: March 06: 19:30
|
|| February
05: 2018: University of St Andrews News || ά. A new CD
celebrates world-renowned composer Sir James MacMillan,
Professor at the University of St Andrews’ Institute for
Theology, Imagination and the Arts:ITIA and his ongoing
contributions, as composer and mentor, to sacred music and
theology. Performed by the St Salvator’s Chapel Choir, under the
direction of Mr Tom Wilkinson, Annunciations: Sacred Music for
the 21st Century, being released on March 09, is a CD collection
of sacred choral music by Sir James MacMillan, his inspirations,
contemporaries and six outstanding young British and Irish
composers mentored by him on the TheoArtistry Composers Scheme.
The CD will be launched at a special free concert on
Tuesday, March 06 at 19:30 in St Salvator’s Chapel, University
of St Andrews. The concert forms the culmination of the
TheoArtistry Festival: Sacred Music for the 21st Century, which
will explore the challenges and opportunities for sacred music
in the 21st century, including, sessions on sacred music in and
outside the church, as well as, reflection by leading scholars
on new directions in theology and music.
TheoArtistry is a ground-breaking initiative led by the ITIA,
a pioneer of theologically informed programming and
performance:TIPP, which promotes the practice, making,
performance, curatorship and reception of Christian art.
Annunciations brings together theologians and artists seeking
new insights to the role of the arts in theology and church
practice.
Almost 100 young composers from across the United Kingdom
applied to join the TheoArtistry Composers Scheme for the chance
to be mentored by Sir James MacMillan and the opportunity to
work alongside Dr George Corbett from the ITIA and researchers
from the School of Divinity at the University. The composers
were encouraged to collaborate with theologians, using divinity
as a source of inspiration.
Annunciations takes the listener on a musical journey through
salvation history, exploring how and when God communicates to
humankind and is released on Sanctiandree Records, the
University’s internationally distributed record label.Sir James
MacMillan said, ''It will be interesting to see if the next
generation of composers will engage with theology, Christianity
or the general search for the sacred.
There has been a significant development in this kind of
intellectual, academic and creative activity in the last 20
years or so. In the world of theology there is an understanding
that the arts open a unique window onto the divine.
Lecturer in the ITIA and Director of TheoArtistry, Dr George
Corbett said, “Music is for many people, whether believers or
not, a profound spiritual, intellectual and emotional resource.
Where Historically Informed Performance:HIP tends to focus on
style, Theologically Informed Programming and Performance:TIPP
privileges the intense religious dimension of music. This
TheoArtistry recording is an opportunity to celebrate the way
that the divine seems to speak to humankind through music.”
University Organist and Director of Chapel Music Mr Tom
Wilkinson said, “It has been a joy to explore the music of Sir
James MacMillan, and to be part of his work with the next
generation of composers. Our collaborative work with the young
composers and theologians, Sir James and Dr George Corbett, has
enriched our understanding of this wonderful tradition, and more
to the point, has produced six fantastic new pieces.”
Sir James MacMillan, one of Scotland’s most accomplished living
classical composers and conductors, holds a part-time
professorship in ITIA. Alongside five of his own pieces, the
album includes works by two decisive influences on Sir James
MacMillan, Benjamin Britten and Kenneth Leighton; two
significant contemporaries, John Tavener and Judith Bingham.
Annunciations: Sir James MacMillan, and Sacred Music for the
21st Century CD will be on sale for £14.50 on St Salvators
Chapel Choir
website.The CD general release date is Friday, March 09,
2018.
Sanctiandree is distributed in the UK by Proper Note and in the
USA by Membran Entertainment Group. Sanctiandree is the
University of St Andrews’ CD label, launched in 2015.
ω.
Caption:
The St Salvator's Chapel Choir Image: University of St
Andrews
Whatever Your Field of Work and Wherever in the
World You are, Please, Make a Choice to Do All You
Can to Seek and Demand the End of Death Penalty For
It is Your Business What is Done in Your Name. The
Law That Makes Humans Take Part in Taking Human
Lives and That Permits and Kills Human Lives is No
Law. It is the Rule of the Jungle Where Law Does Not
Exist.
The Humanion
Thus Far This Far for Much Farther: Amy Papiransky at the BBC Radio
Scotland Young Traditional Musician of the Year Final |
 |
||
January 28: 2018: University of Aberdeen News || ά. Ms
Amy Papiransky, 24, from Keith,
who is a music graduate of the University of Aberdeen,
graduating in 2015 with a bachelors in Music Education and
has since been working as a music teacher in schools, as well
as, undertaking her Masters and recording her first EP of her
own work. And, along the way, she now has reached the final
of the of
BBC Radio Scotland Young Traditional Musician of the Year,
which has been underway at this weekend.
But today, Sunday, January 28 Ms Papiransky is terribly occupied
and, understandably, excited with her aims and efforts focusing
on producing the performance of her life in front of a packed
out Celtic Connections Festival at Glasgow’s City Halls. Now,
here, she will have to ignite the Celtic Souls towards reaching
and seeing into the heights of her musical prowess, reaches,
riches and subtleties in order to win the accolade and the
title. “I am really nervous to be honest. Super excited but
nervous. I definitely think this will be my most important
performance yet.” Ms Papiransky says.
“It’s been a goal of mine to enter the competition ever
since a friend of mine reached the final in 2009. A group of us
went to see him perform in the final and I thought, ‘I would
love to be in this!’. Since then it has been one of my goals to
enter and even just get accepted into the semi-finals, I never
dreamed I would reach the finals with such an amazingly talented
line-up.
There really are a crazy number of young traditional players
and singers out there now. I am just going to pretend it isn't a
competition and simply just a concert. Winning is not even a
thought for me but I guess I should never say never!
So far the competition experience has been amazing. I have met
new friends in my fellow competitors and gained more knowledge
on useful organisations such as PRS. I have also made many more
contacts that will hopefully help me to get my name out there in
the folk scene.”
Ms Papiransky says that the support and training she received at
the University of Aberdeen has played its role in her ongoing
success. “I absolutely loved studying at Aberdeen. I met friends
for life, both fellow students and tutors. I was so lucky to
receive an extremely high standard of tuition in classical voice
and piano at the University and I thank Blair Cargill and
Gillian Jack so much for this.”
Since graduating, she has moved to Glasgow, where she has been
teaching at schools in the North Lanarkshire area. Last year she
started her Masters in Scots Song at the Royal Conservatoire of
Scotland.
“It has been fun so far, very much self-taught, as in, the
majority of the course is performance-based so I have been
working on my own individual projects. Right now I am in the
middle of recording my first EP and the plan is to have my first
album consisting of my own song writing out either at the end of
this year or the start of next.
I, also, head to India in March to sing and play with an
organisation called 'Ethno'. I would be one extremely happy
young woman if I could continue working in song writing, Scots
song and performing at festivals locally and internationally
whilst keeping my High School music teaching on the side along
with tutoring privately and singing and playing at weddings.”
ω.
Caption:
Amy Papiranksy: Image:
University of Aberdeen
Whatever Your Field of Work and Wherever in the
World You are, Please, Make a Choice to Do All You
Can to Seek and Demand the End of Death Penalty For
It is Your Business What is Done in Your Name. The
Law That Makes Humans Take Part in Taking Human
Lives and That Permits and Kills Human Lives is No
Law. It is the Rule of the Jungle Where Law Does Not
Exist.
The Humanion
A Peaceful Noise Music Event 2017 in London: November 25 |
 |
|| October 30: 2017
|| ά. The Nick Alexander Memorial Trust is holding its A
Peaceful Noise again, this year and the even will be held at ULU
Live, at Malet Street, London on November 25. A very
special night of rock n roll, the event, now in its second year,
will not only feature a live show with an array of brilliant
bands but will carry on into the night with More Peaceful Noise,
a star-studded indie disco after-party, both in aid of the Nick
Alexander Memorial Trust and Josh Homme’s Sweet Stuff
Foundation.
Held at London’s ULU, the first acts announced for the live show
include hotly tipped three-piece False Heads. Championed by rock
n roll overlord Iggy Pop, the east London and Essex trio are at
the forefront of the current guitar band revival. A huge
favourite on the live circuit, their brand of muscular riffing
has got the sort of pop nous, that can’t be ignored and is
guaranteed to get the ULU crowd jumping. Reprising his
incredible performance at A Peaceful Noise’s inaugural show, Mr
Frank Turner will be making a special acoustic appearance, too.
Due to head out on tour next year, this is a gilt-edged
opportunity to catch him at his solo best. But that’s not all,
there are live acts still to be announced. A
Peaceful Noise’s compere on the night will once again be
comedian, writer and Unspun presenter, Mr Matt Forde, Dave,
TalkSport, 8 out of 10 Cats, whocommented. "I'm delighted to be
involved with A Peaceful Noise again. It feels like the purpose
of the event is even more relevant now than it was in 2016. Last
year's show was amazing, not just because of the important
message of the event but because it was one of the best gigs I'd
ever been to. This year's show promises to be even better. I
can't wait." he said.
Ensuring that the power of music continues to bring people
together long into the night there is a new addition to the A
Peaceful Noise experience: More Peaceful Noise: Official
After-Party. An honest to goodness indie disco following hard on
the heels of the live show, More Peaceful Noise will be a
standalone event in its own right, with DJs on the night,
including, The Libertines’ Carl Barat and Gary Powell going back
to back.
Money raised on the night will go to the Nick Alexander Memorial
Trust helping it to continue to award grants for musical
equipment to community and small charitable groups within the
UK, particularly, those representing the most disadvantaged and
marginalised sectors of society, be that through poverty,
physical or mental illness, disability, ethnicity or age.
Over the last year the trust has provided funding for several
life-changing music projects across the UK. These include
providing sensory light up instruments for a music therapy
programme teaching deaf children to talk, through to recording
equipment for an education programme for hard to reach young
people in Cardiff, instruments for children in rural communities
who find it difficult to access live music and sounding bowls
for music therapy for dementia patients in residential homes.
This year's show will allow us to continue this incredible
legacy and expand the Peaceful Noise project further across the
UK. A portion of the night’s proceeds will also be donated to
Josh Homme’s Sweet Stuff Foundation.
Details
A Peaceful Noise: 19:30-11:00: Tickets: £20
More Peaceful Noise: 11:00-02:00: Tickets: £10
A Peaceful Noise Bundle: £25
The Nick
Alexander Memorial Trust: The Nick Alexander Memorial Trust
is a UK registered grant-giving charity funding musical
equipment and instruments for small charities and community
groups across the UK.
The Sweet Stuff
Foundation: Josh Homme’s Sweet Stuff Foundation is a charity
dedicated to giving assistance to career musicians, recording
engineers and their families struggling with illness and
disability.
About A Peaceful Noise:
When Nick Alexander was killed in the terrorist attack on the
Bataclan Theatre last November, his family were overwhelmed by
the response from the music community. Over the following days
and weeks, they received hundreds of messages of support and
love from across the world; from artists and production crew,
people who had bought a t-shirt from Nick at some point over the
years, to people who didn’t know him at all but wanted to reach
out. The positivity and solidarity in those messages was clear –
music fans would not let this terrible act divide them. They
would stand up for the liberty and freedom that music brought
them and use it as a force for understanding and tolerance.
A Peaceful Noise is their response to try and harness that
positivity, to pay tribute to the Paris victims with a positive
message of understanding, to celebrate music’s unique ability to
unite people as equals, and to raise money for two music related
charities paying forward the love and goodwill within the
community. Like the 88 others, who lost their lives in the venue
that night, as well as the countless injured, Nick was a music
lover and going to gigs was a huge part of the fabric of his
life. The creation and enjoyment of music exists in every
culture across the world and we are stronger and louder together
- together we can all make A Peaceful Noise.
ω.
Whatever Your Field of Work and Wherever in the
World You are, Please, Make a Choice to Do All You
Can to Seek and Demand the End of Death Penalty For
It is Your Business What is Done in Your Name. The
Law That Makes Humans Take Part in Taking Human
Lives and That Permits and Kills Human Lives is No
Law. It is the Rule of the Jungle Where Law Does Not
Exist.
The Humanion
Kerry Schleifer Singing at the VI London Poetry Festival 2017 |
|| October 20: 2017
|| ά.
The opening evening of the VI London Poetry Festival 2017,
October 14, begun with Kerry Schleifer's opening musical
performance, that transported the audience in full darkness
other than some candle light flickering into a magical world,
particularly, her use of the Ocarina. After the poetry readings,
Kerry Schleifer and Jeff took over with music and the audience
had a wonderful time as they both gave a rapturous performance.
At the end, Kerry and the audience created an improvised song,
based on some words, given from the members of the audience:
words were lasgne, light, soul food and some other. And the
opening evening concluded with that soul food, rendered by Kerry
Schleifer.
Surrounded by her art works she sang as if she was in her own
world, singing away.
Here is
a short video of Kerry Schleifer in one of her musical session.
The Humanion does not post videos, other than as absolute
exception, this being the second time.
The final evening began with the Art Exhibition, being
experienced by the audience members as they arrived and mingled
around. Again the evening begun with Kerry's opening musical
performance with Paul Cowles from the darkness in candlelight.
Then followed poetry. Readers were Jag Reaves, Sharon Whitmarsh,
Kerry Schleifer, Dilu Naser and some other young poets, whose
names we shall have to confirm. Then, once again, Kerry
Schleifer and Paul Cowles took the stage with their dual musical
session, that transpired the audience to a world of
improvisational musical art.
Then, once again, Kerry involved the audience and they offered her words like
chicken, Jelly Fish, miracle and Paris being a state of mind with which she has
come up with a stunning song and performance. And then she sang an impromptu
poem said out to her, which she then sung, each line as she was given one after
another. Matters rising on ideas' boats to Eiffel Heights.......Hold my hand and
look out to the valley of the night....The audience has been thoroughly won over
by Kerry with her out of the world performance.
ω.
Whatever Your Field of Work and Wherever in the
World You are, Please, Make a Choice to Do All You
Can to Seek and Demand the End of Death Penalty For
It is Your Business What is Done in Your Name. The
Law That Makes Humans Take Part in Taking Human
Lives and That Permits and Kills Human Lives is No
Law. It is the Rule of the Jungle Where Law Does Not
Exist.
The Humanion
Alena Baeva Will Show the World That Salk Just Does Not Do
Science: It Does Music Too: October 22 |
|| October 19: 2017
|| ά. This Sunday, October 22 at 16:00 at 10010 N Torrey
Pines Rd at the Salk Institute
in a special concert two great virtuosos, Ms
Alena Baeva, violinist and Mr Vadym Kholodenko, pianist, join
forces to perform works of Beethoven, Debussy and Tchaikovsky.
After intermission, Mr Wolfgang Busch, Associate Professor in
the Plant Molecular and Cellular Biology Laboratory, will give a
brief talk on his latest scientific discoveries at Salk.
Ms Alena Baeva is fast emerging as one of the finest
violinists of her generation, having, already, carved out an
impressive career to date working regularly as a soloist with
orchestras, including, the Mariinsky Orchestra, the Tokyo
Symphony Orchestra, the Grand Tchaikovsky Symphony Orchestra,
the Svetlanov Academic Symphony Orchestra, the St. Petersburg
Philharmonic Orchestra, German Radio Orchestra, the National
Orchestra of Belgium. Alena has worked with conductors such as
Valery Gergiev, Krzysztof Penderecki, Sir Neville Marriner,
Vladimir Fedoseyev, Paavo Berglund, Kazuki Yamada, Sakari Oramo,
and Pablo Heras-Casado.
Her chamber music partners have included Marta Argerich,
Yuri Bashmet, Steven Isserlis, Nikolai Lugansky, Misha Maisky,
Аlexander Knyazev, Vadym Kholodenko, with whom she has
established an eight-year long musical partnership and Itamar
Golan.
Her recent highlights include the opening violin recital at the
Mariinsky Concert Hall in St. Petersburg, performing with Yuri
Bashmet and the English Chamber Orchestra in London’s Cadogan
Hall, a tour with Orchestre National de Lille under Jean Claude
Casadesus, engagements with the Trondheim Soloists, and a
performance at Klassik Open Air, with an audience of over 75,000
people.
Ms Baeva
recently performed with the Weimar Staatskapelle and
conductor Stefan Solyom, the Luzern Festival Strings Orchestra,
as well as Shostakovich’s Violin Concerto No.2 at the Salle
Pleyel in Paris (February 2014), and the complete cycle of
Shostakovich’s symphonies and instrumental concertos, performed
by the Mariinsky Orchestra and Valery Gergiev. Future
engagements include performing with the Belgrade and Zagreb
Philharmonic Orchestras, Orchestre National de Lille, Brussels
Philharmonic, a return to the English Chamber Orchestra, along
with recitals and chamber music throughout Europe.
Ms Alena Baeva was born in 1985 to a musical family. At the age
of five she began studying the violin in Alma-Ata under Olga
Danilova. From 1995 she was a student with Professor Eduard
Grach at the Central School of Music of the Moscow State
Tchaikovsky Conservatoire and from 2002-2007 at the Moscow
Conservatoire itself. Apart from formal studies, her two most
important influencers and supporters were Mstislav Rostropovich
and Seiji Ozawa.
In 2003 she was invited by Rostropovich to study in France
and since 2007, Ms. Baeva has participated in Seiji Ozawa’s
Academy in Switzerland. She has taken part in various
master-classes, including those under Ida Haendel, Maxim
Vengerov, Shlomo Mintz, and Boris Garlitsky. In 2004 Ms Baeva
won the Grand Prix at the Moscow International Niccolò Paganini
Competition, giving her the right to perform on the Stradivarius
violin that belonged to Henryk Wieniawski; she also took the
Gold Medal and audience prize at the International Violin
Competition in Sendai 2007.
Her discography includes recordings of concerti by Bruch and
Shostakovich with the Russian National Orchestra, Pentatone
Classics, concerti by Szymanowski, DUX, sonatas by Poulenc,
Prokofiev and Debussy, SIMC and Schubert’s Erlkönig with Yuri
Bashmet, Sony Classics. The most recent release is a
live-recording of the Second Violin Concerto by Shostakovish
with Valery Gergiev, Arthaus Music, 2015. She, also, has a
diverse range of recordings made on radio and television in
Belgium, Germany, Israel, Poland, Japan, Portugal, Russia and
the USA.
Her rapidly expanding repertoire includes over forty violin
concerti and numerous sonatas and other works from different
eras.
ω.
Image: alenabaeva.com
Whatever Your Field of Work and Wherever in the
World You are, Please, Make a Choice to Do All You
Can to Seek and Demand the End of Death Penalty For
It is Your Business What is Done in Your Name. The
Law That Makes Humans Take Part in Taking Human
Lives and That Permits and Kills Human Lives is No
Law. It is the Rule of the Jungle Where Law Does Not
Exist.
The Humanion
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