I never want to see 5:20 on a frosty Saturday morning in London again. Having said that, I had a smashing time playing live on BBC London with the Lucy Claire Quartet. We were performing a couple of Lucy’s beautiful pieces for string quartet and electronics. Lucy writes deeply heartful music and is certainly a name to look out for in the cinematic future. You can catch our performance and Lucy’s interview for one week on BBC iPlayer. Click here to hear the broadcast.
By far the most successful performance of the evening was that of Lutosławski’s String Quartet given by the accomplished Park Quartet. Opening the blanched pages of outsize parts upon their stands like a collection of wings, the players set about conquering this highly original 20th-century masterpiece.
Sorry, just had to get that out of my system. Anyway, to translate: I would just like to share with you, my friends, that there are exciting things on the horizon, and shizzle (that last word is lamentably untranslatable). I joined Jane Wilkinson (soprano) and Tamara Young (harp) today to record an album of the music, and folk-song arrangements, of Louis Mander, a talented young composer from London. With a folky English feel, these works delicately bridge the gap between the rich musical heritage of this wonderful country and its exciting contemporary scene. We were lucky enough to record in a beautiful house opposite Christ Church, Spitalfields. It is the first opportunity that I’ve had to share my glorious 12-string violin (sympolin) with the world, and I’m very excited to hear how it sounds on record. More to come soon!
On another note, my quartet (the Park Quartet) performed Lutoslawski’s String Quartet on Monday at the Purcell Room, Southbank Centre. It is a difficult piece to get to grips with, but incredibly atmospheric if you are willing to accept its unorthodox nature. Click here to read a delightful review of the concert.
Fortunately the Park Quartet came through unfazed in this respect – teasing out the initial subtleties of detail, before investing what follows with a surging expressive charge which was then carried over into the prolonged leave-taking with its vestigial allusions to earlier and dimly remembered events.