Showing posts with label Steve Reich. Show all posts
Showing posts with label Steve Reich. Show all posts

Wednesday, 3 February 2016

What is Britten Sinfonia Academy?

When we asked current members "What is Britten Sinfonia Academy?" these are some of the responses we got:




Britten Sinfonia Academy (BSA) is an exciting and dynamic training opportunity for talented secondary school aged musicians from the east of England. Now in its fourth year, BSA is looking to recruit a new generation of musicians for the 2016-17 season. We are looking for young people who love music, are open to new ideas and have a healthy appetite for adventure.

As a violinist I often find myself surrounded by musicians at rehearsals and as conversations flow someone inevitably asks me what my job in the Creative Learning department at Britten Sinfonia involves. BSA is one of many projects the team works on and it is certainly one of my favourites. That doesn’t, however, make it easy to condense what BSA is into a short conversation! “BSA’s players get together to play chamber music alongside our Britten Sinfonia professionals who are really engaged in their development. They explore fantastic repertoire, perform in amazing places, challenge themselves musically with new skills in different musical settings, have a blast, make new friends and and and … the list continues!”   

BSA is captured best in moments. One of my favourites, for example, happened this year. I met an incredibly shy violinist, joining us for the first time at the beginning of the season. She barely said two words at the first rehearsal except to offer to help us set up. This last weekend (half-way through our current season) she sat down as one of two solo lines opening a performance of Steve Reich’s Eight Lines, she took a deep breath and her smile lit up the room along with the beauty of her playing. The rest of the ensemble followed her confident leadership and I could barely recognise the quiet player offering to help with music stands from just a few months ago

“I feel so lucky to play alongside professional musicians and individuals of such high standard who all share the same love for music.” – Current BSA member 2015

One of the nicest things about BSA in a way has nothing to do with playing music. It is the environment in which members can support each other and where new, life-long friendships are born. At our most recent course, I watched a group of 18 players squeezed into a small room, trying to work out where they should seat, what part to play, who was in charge. Following a hectic start, the group started to shape and they worked out exactly who to watch and at what point it was their turn to lead or to help the person next to them. It was fascinating to watch a group of very different individuals of different ages and backgrounds work together to become a single ensemble.

“The academy and orchestra members have shaped me as a musician and given me great memories – not to mention friends for life”BSA alumni violin 2013





BSA is a unique experience for these young people; an experience which compliments their musical activity with their teachers, schools and county youth orchestras. Over a season in a series of intensive courses run ordinarily over 2 weekends during term time, BSA offers skills and development which players then take back to their musical lives elsewhere. We hope, whether they go on to join the music profession or simply to continue to play for pleasure,  that they’ll take the pioneering spirit of adventure, the desire to push the boundaries and explore new possibilities which they learn at BSA, with them.

Applications are now open for chamber orchestral instrumentalists of Grade 8 standard. Applicants need to submit a competed application form together with a statement from their teacher. The successful applicants will be invited to a first round individual audition in April. A selection of players will then be invited for a second round, group audition day in July.

Apply here to join the BSA adventure: BSA 2016-17

Mateja
Creative Learning Co-ordinator

Wednesday, 13 January 2016

Discovering Steve Reich's The Desert Music



When looking through Britten Sinfonia’s advance schedule (which looks at least at five years into the future) there are often projects that appear that immediately put a smile on your face and you anticipate with excitement (in my case both personally and/or with my marketing hat on). A couple of years ago I was thrilled to spot plans on the schedule for a project including a performance of Steve Reich’s The Desert Music – a piece I have loved for a number of years.

I first discovered the music of Steve Reich whilst at university – I studied The Desert Music for one of my modules and was entranced by the sound-world created and compositional techniques and structure. I bought my own score and the Nonesuch recording (no mean feat for a poor music student) – and poured over these night after night. This very much annoyed my non-music studying housemates who were all into house and dance music. I tried explaining that what they were listening to and what I was listening to was similar in so many ways and perhaps they should give minimalist contemporary music a go but to no avail.

My passion for this piece has not ebbed (the opening vocal line Begin, my friend still sends a tingle down my spine). I’ve seen a number of live performances and it still remains one of my most played recordings. It led me to discover, firstly, other works by Reich including Electric Counterpoint, Different Trains and Three Tales (which I had the privilege of seeing the UK premiere of at the Barbican Theatre) and then on to other minimalist composers.

I do hope my enthusiasm for this piece will be shared by the audience on Tuesday 9 February when Britten Sinfonia and Britten Sinfonia Voices conducted by Clark Rundell perform Reich’s The Desert Music alongside works by Louis Andriessen and Steve Martland. Book tickets here.

Claire
Marketing Director

This concert forms part of the Barbican's celebration of Andriessen's music and life, M is for Man, Music and Mystery. Find out more about the series here.

You can listen to a Spotify playlist (including Steve Reich's The Desert Music) here.

Thursday, 15 May 2014

Our Nonesuch Selection


This weekend Britten Sinfonia performs as part of the Barbican’s celebrations of 50 years of Nonesuch Records.  Founded as a budget classical label in 1964 in New York, Nonesuch went on to transform not only the classical landscape, but also jazz, world music, folk and rock. Having taken a look at Nonesuch’s extensive discography we realised that lots of us in the Britten Sinfonia office had Nonesuch albums without even knowing it. Here’s some of our favourites;

 
Lisa, Marketing Assistant
Inside Llewyn Davis, written and directed by Joel and Ethan Coen, has to be one of my favourite films this year, mostly due to this soundtrack, which combines original collaborations with traditional folk songs. Performed by Oscar Isaac in the lead role as Llewyn Davies, and with performances from Carey Mulligan, Stark Sands and surprisingly Justin Timberlake, this record works in its own right as a collection of folk songs taken from the 1960s folk revival in New York City.

I am also particularly mesmerised every time I hear the music of guitarist Ali Farka Touré and kora player, Toumani Diabaté. The album, Ali and Toumani is a wonderful collaborative effort between two African musicians whose respective string melodies collide and interweave, shimmering and glowing.

Natalie, Creative Learning Director
My choice is Bjork’s Biophilia. It’s full of incredible textures and colours – both sublime and brutal. Featuring her brilliantly versatile voice there is an awesome mixture of acoustic instruments and digital sounds. Ambitious and epic, as you would expect from Bjork..!

Will, Development Director
I’ve got Amadou & Miriam Dimanche a Bamako. (Had no idea it was Nonesuch!) It’s a brilliant record, and one that never fails to lift the spirits. It’s unlike anything else I have in my collection, and you can really hear the infectious enthusiasm of the players. That enthusiasm and upbeat outlook was highlighted when I heard Amadou & Miriam at the Cambridge Folk Festival in 2013.

Amongst the other Nonesuch gems, I heard a track from Natalie Merchant’s new album the other day. What a brilliant voice. Can’t wait to hear more.

Claire, Marketing Director

I was incredibly lucky to see the London premiere of Three Tales by Steve Reich and Beryl Korot at the Barbican Theatre years ago and when I realised that there was a DVD/CD package available of it rushed out to buy it. Three Tales is a three-part digital documentary video opera (!) about technological breakthroughs in the 20th century (the Hindenburg explosion, the atomic experiments on Bikini atoll, and the cloning of Dolly the sheep). In my mind the work is unique and extraordinary. You can listen to the soundtrack separately but to appreciate this staggering work of art the full multimedia experience is required – I don’t often find the time to do this but on the occasions I have sat down and watched (even just one of the Tales) it has been haunting and powerful.

My other choice is Metheny/Mehldau a collaboration between guitarist Pat Metheny and pianist Brad Mehldau. It’s a chill-out album for me – perfect for unwinding with a glass of wine after a long day– full of beautiful moments and impeccable playing.

Elizabeth, Development Assistant
My top choice is Nickel Creek – A Dotted Line. After being on hiatus since 2007 (but by no means missing from my iPod playlists) fans such as myself were pleased to see this album appear in April. It’s difficult to choose just one of Nickel Creek’s albums as a talking point (not in the least because they all tend to be shuffled on my iPod) but this latest, fresh and more grown-up collection of their typical bluegrass sounds and beautiful harmonies, with the added maturity and experience gained from band members ‘going solo’ for the past seven years, makes A Dotted Line a new favourite.

It is difficult too, to separate Nickel Creek (Chris Thile, Sara Watkins and Sean Watkins) from its amazing mandolin player, Chris Thile, who has many a solo album including his latest project Bach: Sonata No. 1 in G Minor / Partita No. 1 in B Minor [LP], released last year – which you really must listen to because you have to hear it to believe it (and the album cover is rather nice!). And I had the pleasure of hearing him play at LSO St Lukes before Christmas, firmly placing him on my must-see-live-again list, not only for his musicianship but his generally fantastic personality, humour and stage presence; who’d have thought one guy on a mandolin could captivate an audience so... he has even written a song about playing songs on a mandolin! And you can’t talk about Chris Thile without mentioning Punch Brothers, particularly Antifogmatic (2010) and their latest Ahoy! (2012).

So, Nickel Creek, Punch Brothers, Chris Thile and Sara Watkins are all firm favourites of mine, and I don’ think you can be a fan of one, and not another. Start with Nickel Creek, and then let yourself wander through the wonderful musical world of contemporary bluegrass, and lots of incredible mandolin playing.


Find out more about the Barbican's celebrations "Exploratons: The Sound of Nonesuch Records" here. Full details of Britten Sinfonia's concert featuring music by Terry Riley, Steve Reich, Timo Andres and Brad Mehldau click here