Showing posts with label Joey Roukens. Show all posts
Showing posts with label Joey Roukens. Show all posts

Thursday, 12 March 2015

Sinfonia Student review - At Lunch 4

Britten Sinfonia At Lunch 4 
West Road Concert Hall, Cambridge 10/03/15

Harrison Varied Trio for violin, piano and percussion
Joey Roukens Lost in a surreal trip (world premiere tour)
Shostakovich Piano Trio No. 2

Britten Sinfonia’s Lunchtime Concert series came to a flourishing Easter climax* with the ensemble’s performance of varied and fantastic instrumentation. Parallels can be drawn from the contemporary nature of both Lou Harrison and Dmitri Shostakovich, however the success of this
lunchtime concert came in its eclecticism, not its continuity. The two composers, whose works comprised the beginning and end of the recital, were active during a similar time, however their music could not be more dissimilar.

Lou Harrison’s Varied Trio for violin, piano and percussion is a wonderful gem of a piece, with influences from Gamelan music palpable and Native American sounds coming to the fore in Elegy, the central movement. Gould’s playing was sensitive and engaging, remaining particularly accessible as was Watkins' piano interjections in Bell Bowls. The real star of this piece was the fantastic Owen Gunnell, whose playing was virtuosic and displayed consummate technical prowess, remaining involved throughout. Even when playing rice bowls with chopsticks, Gunnell displayed musicianship and ability. The sporadic and broken-up nature of the work was not a hindrance to its effectiveness, rather this added to its charm.

Lost in a surreal trip, on its world premiere tour, by Dutch-born composer Joey Roukens was full of interest and style. Characterised by sharp contrasts in atmosphere and mood, the work began in an ethereal-like haze, and shifted through a pulsating club-inspired sections, to pop induced rhythms, finally to return to the shimmering opening material once more. Again, virtuosity aided the successful evocation of the piece. It is interesting that the extremely eclectic styles exhibited in Roukens' work were aptly reflecting in the altering ensemble size throughout the programme, first with the addition of cello and then with the removal of percussion. Again, Gunnell’s playing was especially sensitive, with his vibraphone technique evoking both intensity and subtlety.

Shostakovich’s second piano trio is a work of sublime intensity, and this was well managed by the trio of Huw Watkins, Thomas Gould and Caroline Dearnley. Written in 1944, in the midst of
WWII, Shostakovich’s composition reflects the tumult of the age, with incredible dissonance in the opening movement, unfolding from the fantastic opening cello solo, entirely in harmonics, convincingly played by Dearnley. The trio was gritty and powerful, while real emotional intensity was realised in the slow movement, effectively a funeral march; the opening piano chords evoke total pain and sorrow, while the violin line weeps with searing agony.


This was the first concert in a long while where members of the audience were visibly reduced to tears it was simply that wonderful, and moving. The final movement was equally persuasive, with Watkins’ playing reaching transcendental heights in his rendition of the Jewish-style ‘Dance of Death’ melody that has become so well-known and widely recognised. A fantastic crescendo was reached towards the end of the finale, concluding a resoundingly superb performance that had audience members captivated and exclaiming their delight come the final few notes. The ensemble’s weight, mettle and intensity was admirable, however the overall sound still required a little more grit in the cello.

This was a wildly persuasive performance, and a hugely enjoyable and engaging one too, reflecting in its repertoire and instrumentation the wide-ranging span of twentieth-century and modern chamber music.

Carl Wikeley (Sinfonia Student 2014-15)

This programme will be recorded in Norwich's St Andrew's Hall on Friday 13 March 2015 for later broadcast by BBC Radio 3.

*The final concert in the 2014-15 At Lunch series will take place on 30 June (West Road Concert Hall, Cambridge) and 3 July (St Andrew's Hall, Norwich) and feature the young musicians from Britten Sinfonia Academy. More information.

Wednesday, 17 December 2014

Brussels Sprouts and Christmas Carols

Ahead of the looming excitement of Christmas day we asked our Musically Gifted composers what they're most looking forward to and what they really think about Brussels sprouts... 

All of these composers will have new works premiered by Britten Sinfonia this season, find out how you can get involved on the Musically Gifted website. Watch our Christmas video here



Ben Comeau

What’s your favourite Christmas song and why?
Unashamedly highbrow response!  Any of Bach’s Christmas music, especially O Jesulein süß (O Little One Sweet). Poulenc’s four Christmas motets. Messiaen’s Dieu Parmi Nous for organ.

The one you really can’t stand?
I’m usually very eclectic in my tastes, but Christmas really brings out the very worst in pop music. The tropes and cheap tinsel of Christmas hits are so depressing. I could probably enjoy Slade’s Merry Christmas Everybody if it were an obscurity, but the Pavlovian response when it starts playing in a club brings out a rare misanthropic streak in me...

Favourite thing about Christmas?
Obviously (some of) the music. And if it ever snows, going out on a long walk.

Your Christmas pet hate?
The pop music...

Brussels sprouts, yes or no?
YES and then some! I could eat barrels of them.


Tom Coult

What’s your favourite Christmas song and why?
12 Days of Christmas – hands down the most structurally innovative of all Christmas songs. It’s a cumulative form with an irregular metre and irregular, additive phrase structure – introductory lines and the ‘partridge in a pear tree’ segment in 4/4, then incrementally adding 3/4 bars, excepting the 5th phrase (‘five gold rings’) which is in 4/4, after which point the melody of the following three phrases alters for each subsequent verse. I’ve done a diagram of the phrases in each verse – italics denote the changed melody after ‘five gold rings’:

AB - ACB - ADCB - AEDCB - AFEDCB - AGFEDCB - AHGFEDCB - AIHGFEDCB - AJIHGFEDCB - AKJIHGFEDCB - ALKJIHGFEDCB - AMLKJIHGFEDCB

The one you really can’t stand?
The Holly and the Ivy. The word setting is awful – all the lines seem to have different numbers of syllables that have to fit into the same tune, and accents fall on strange words. 'Of all the trees that are in the wood’ – very odd.

Favourite thing about Christmas?
The Father Ted Christmas special.

Your Christmas pet hate?
People moaning about Christmas decorations going up in October and November.

Brussels sprouts, yes or no?
No. Yes? Dunno. Was Pierre Boulez not available for this Q&A?


Iain Farrington

What’s your favourite Christmas song and why?
My favourite ‘original’ Christmas work is Britten's Ceremony of Carols: fresh, brilliant, and moving. To think it was composed on board a ship on the Atlantic during World War II makes it even more remarkable. Of the ‘traditional’ carols, I love the original 16th Century Coventry Carol which has such tension to it, unsettling major/minor shifts and uneven bar lengths. Also The First Nowell, especially as arranged by Elgar at the end of his The Starlight Express (nothing to do with Lloyd Webber!)

The one you really can’t stand?
Any of the contemporary pieces that are loaded with saccharine sentimentality, cloying harmony and butter-wouldn’t-melt-in-your-mouth naivety. Like having to eat an extra-large Christmas pudding in one go.

Favourite thing about Christmas?
The positive atmosphere, lights, colour, food and drink; all the best things to get through the darkness of winter.

Christmas pet hate?
Dewy-eyed and cynical TV adverts (Sainsbury’s, this year).

Brussels sprouts, yes or no?
Definitely, and all year round too. However, will we have to change the name if we leave the EU?


Joey Roukens

What’s your favourite Christmas song and why?
Although I don’t have any real favourites, I prefer the ‘classic’ Christian hymns and carols such as Adeste Fideles, Silent Night and Hark the Herald Angels Sing, partly because of their sentimental value – I used to sing these as a child at school and with my mother, and partly because they simply have lovely melodies that are both tender and solemn.

The one you really can’t stand?
Most Christmas pop songs I can’t stand, but if I had to pick one, it would be Last Christmas (by Wham!) which I find the most aggravating Christmas song ever penned. All I want for Christmas is you (Mariah Carey) and Simply having a wonderful Xmas time (Paul McCartney) are pretty terrible too. The thing is, even the great Christmas songs become vexatious just by maddening repetition during the Christmas season.

Favourite thing about Christmas?
Christmas dinner with family!

Your Christmas pet hate?
See question #2 – hellish repetition of the same annoying songs, all the crappy programs and movies on TV, massive consumerism.

Brussels sprouts, yes or no?
Yes!



Nico Muhly

What’s your favourite Christmas song and why?
Well, let’s back up and say that the all-time best is O Come, O Come Emmanuel, because there is nothing more joyful than moving from that minor mode to the expectant major on the word, “Rejoice!"

The one thing you can’t stand?
Everybody losing their mind about Christmas before Advent starts. 

Favourite thing about Christmas?
Having the entire city to myself. Everybody peaces out and I can walk up and down the middle of the street.

Christmas pet hate?
I actually have no idea what this could possibly mean. Do you mean is there a thing my dog hates at Christmas?

Brussels sprouts, yes or no?
Firmly yes! You just have to handle them right. Sometimes raw is the way forward, indeed, and other times, the opposite.  

Thursday, 6 November 2014

Joey Roukens on composition

Composer Joey Roukens is writing a new work for Britten Sinfonia, which will be premiered on Wednesday 4 March 2015 in London's Wigmore Hall followed by performances in Cambridge and Norwich as part of our At Lunch 4 programme. Joey is one of the composers you can support through the Musically Gifted campaign. Find out more about Joey in this blog post as he answers questions about himself and his music...



How would you summarise yourself in one sentence?
I'm a composer with an eclectic (yet hopefully distinctive) musical language embracing the great diversity of styles and genres that make up our current musical age.

What’s your earliest musical memory?
Probably listening to my father’s vinyl records: mostly crooners, country and folk music. But I also remember a record of songs played by a Dutch street organist, which I was very fond of.

What do you like most about composing?
What I like most is when you stumble upon an idea that seems brilliant and you think this is going to be the masterpiece you’ve always wanted to write… only to realize the next day that the idea is not that brilliant after all and the piece you’re working on is definitely not going to be a masterpiece. For the most part, it’s not fun to compose: it’s an agony – 99% perspiration and 1% inspiration!

What inspires you?
Anything can be a source of inspiration – a good movie, a museum, a night club, etc. But what inspires me most is other music. When I hear music that really moves or excites me I get inspired to write my own.

When was the last time you experienced writers’ block, and how did you move on from it?
With each piece, I go through a stage of writers’ block, sometimes it lasts only a day, other times it can last many weeks or even months. Frustratingly, there’s not much you can do about it; it’s part of the creative process. What works best for me is to just accept it and take a break.

How do you feel about new music and what we’re trying to do with Musically Gifted?
In these times of arts cuts it is very important that projects such as Musically Gifted exist to make alternative financing of new music commissions possible. Musically Gifted is a wonderful initiative I can only applaud. New music that’s being written today must be performed today, for it has something to communicate to the audience of today.

What would you like to be recognised for?
Frankly, I don’t care. I just write the music I want to write and as long as there are listeners out there who think my music is worthwhile, I am happy.

What advice would you give to other composers?
I don’t think I’m in the position to advise other composers, but if I had to advise younger, aspiring composers, I’d say: Be open to the whole gamut of styles, genres and sources that the current musical culture has to offer. Embrace everything, question everything and write only what you want to write, even if you think you shouldn’t write it.

What’s your musical guilty pleasure?
I’ve got plenty: the lush film scores of John Williams and Morricone, Strauss waltzes, Bacharach songs, new agey ambient music, at times I can even enjoy a bit of Einaudi.

If you turned your iPod on now, what would be playing?
That could be anything from Renaissance vocal music to the new Aphex Twin album.
  
Favourite five tracks of all time?
That’s difficult to say because I have so many favourites, plus, they change all the time. So let me just give you my favourite composers. As of now, they are (in no particular order): Bach, Mahler, Mozart, Sibelius, Stravinsky.

The last concert you saw?
A concert with orchestral works by Dutch composers, including a piece by me, about a month ago.

If you hadn’t been a musician, what might have happened?
Either I would have become a researcher in cognitive psychology (in fact, I studied psychology at university, as well as music composition), or I would have ended up a tramp.

Which musical instrument do you wish you could play, and why?
The violin. Because of the enormous emotional range it is capable of expressing.

Is there anything else you want to share with the world?
No, enough said, just listen to my music!


Joey's new work will be premiered in March 2014 as part of our At Lunch 4 programme, which also features works by Lou Harrison and Shostakovich.

You can find out more about Joey's music by listening to some tracks on his website.