Chamber music has always been essential to the spirit of Kings Place.
From our opening concerts five years ago, string quartets, piano trios and sonatas have rung out through its intimate halls, the London Chamber Music Society has taken up residence and ChamberStudio has provided hours of coaching to the next generation of chamber ensembles.
Having ‘unwrapped’ single composers through their chamber music, we thought we would celebrate five years of music-making by turning to the art form itself, and asking you, our audience, what you wanted to hear. Together withBBC Music Magazine, we launched an online vote to find the Top 50 most loved pieces of chamber music in the repertoire, and these form the core of our new Chamber Classics Unwrapped series.
Another special feature of our offering at Kings Place has been to give musicians the freedom to curate their own concerts, and I’m delighted to say that those invited to take part in this series have come up with some wonderfully imaginative programmes: Beethoven is served up with John Adams or Herrmann’s Psycho Suite, Ravel is spliced with Birtwistle, Elgar with Falla and Brahms echoed by Ligeti. For children there are Dirty Beasts alongside Carnival of the Animals, for lovers of song there’s Schubert and Schoenberg, and we also have exquisite Baroque evenings for those suffering from Bach Unwrapped withdrawal.
Last but not least, look out for the enriching Study Days, co-curated by BBC Music Magazine, and our Musical Brain Day, which examines the psychology behind our musical attachments.
We caught up with producer, composer and musician John Metcalfe ahead of his curation at Kings Place which runs from 11 to 13 May 2013. As well as curating, John will perform with John Metcalfe Band, featuring Simon Richmond (Imagined Village), Ali Friend (Red Snapper) and Louisa Fuller (Duke Quartet).
This special concert will create an environment where all unnecessary stimuli are excised to allow greater focus on the music and to explore the relationship between performer and audience when the lights are switched off. Support comes from The New Radiophonic Workshop, who were re-born last year from the The New Radiophonic Workshop - responsible for the iconic Doctor Who theme music.
Also in the series are the London premiere of Thomas Dolby’s new short film and Goldfrapp’s Will Gregory with his Moog Ensemble, featuring Portishead’s Adrian Utley.
Author and antiquarian book dealer Rick Gekoski launches his fascinating new book at Kings Place on Monday 29 April, Lost, Stolen or Shredded.
The world of art is full of missing links. While Beethoven kept all his sketches, and Britten boasted a cupboard-full of juvenilia, Brahms ruthlessly destroyed every early work, leaving only what he considered perfected. In a bid to protect her husband’s reputation, Clara Schumann destroyed many of his late pieces, much to the fury of cellists, who lost his Romances for cello and piano.
Author, academic and rare book dealer, Rick Gekoski is fascinated by such absences, as those who heard his Radio 4 series Lost, Stolen or Shredded will know. His research has now led to a book, to be launched at Kings Place in April, in which he tells the very human stories behind a handful of significant losses.
How many authors have asked for their diaries and letters to be destroyed after their death, begging the question ‘Why not do it yourself?’. Philip Larkin took no chances; after his death his diaries were not just burnt but shredded page by page.
Gekoski explores the poet’s reasoning and ponders on whose responsibility is it to make these decisions. In the case of a portrait of Winston Churchill, by Graham Sutherland, his wife decided to destroy it after his death because she hated it so much: did she have the right when the portrait had been commissioned by the Houses of Parliament?
Sometimes art works are stolen – as the Mona Lisa was – and Gekoski explores the power it retained over people even in its absence: what does it say about a painting when people would still queue to view the empty space in which it used to hang? Another tantalising absence in literature is the poem written by James Joyce when he was nine years old, Et tu Healy? in protest against the death of Charles Parnell. His father was so proud of it he distributed it to friends and family; even the Pope was sent a copy. Only three lines of it have ever been found, yet the full version is probably still out there somewhere in Ireland, perhaps between the pages of a book…
As an antiquarian book dealer, Gekoski understands the thrill of the hunt, and is a consummate detective in his own field, as his collection of essays Tolkien’s Gown and Other Stories of Great Authors and Rare Books attests. But as a dealer, he needs to keep on buying and selling books and is therefore well acquainted with loss. As he said in a recent interview, ‘I deal now, but when I grow up I’m going to be a collector. I had a first edition of Ulysses, another of The Wasteland inscribed by TS Eliot, and a first edition of Nabokov’s Lolita inscribed to Graham Greene. It’s terrible, they’ve gone – I plan midnight raids to get them back!’
Christoph Richter is one of the most highly sought-after cellists in Europe. A regular artist at Kings Place, he performs Bach’s Solo Suites and Viola da gamba Sonatas for Bach Unwrapped in April & December 2013.
When did you first play at Kings Place?
Actually before it opened! In April 2008 I was invited by Peter Millican to play some Bach in Hall One, where there were still builders around and covers on the seats. I remember we discussed the age of the oldest wood in the Hall – I thought it was my cello, a Gofriller dating from 1720, but he said that the wooden panels were made out of a 500-year-old oak!
What have been memorable occasions for you here?
Firstly, the Opening Festival in September 2008; having seen the Hall being built, to play one of the first concerts there was very touching. Then, in 2009, I played Beethoven’s complete works for cello and piano with Dénes Várjon. In March 2011 I organised a festival to honour composer Heinz Holliger. Most recently I performed the Brahms Double Concerto with Anthony Marwood and Aurora Orchestra. All these occasions made me feel at home – I like the intimate and concentrated atmosphere very much.
What part does Bach play in your musical life?
As I think of Bach as being the root of our musical world, so of course he is the root of mine. My grandfather was a conductor and founded a Bach Choir Society. From my earliest childhood I witnessed rehearsals and performances of Bach’s St Matthew and St John Passions every year. My parents both played in those, so my siblings and I sat and listened: maybe the greatest musical education a child can have?
How has your approach to the Solo Suites evolved over the years?
I was lucky that I had a very profound and sincere education on the Suites through my teachers André Navarra and Pierre Fournier. Navarra insisted on very little or no vibrato, no slides, very clear dance rhythms. He often referred to Pablo Casals, who rediscovered the Suites for us in the late 19th century. But, naturally, my interpretations have evolved and continue to evolve, which should be the case for all great works you play often.
How has the period instrument movement affected your approach?
A great influence was Anner Bylsma, who recorded all the Suites on a Baroque cello. This made me rethink a lot of details and for a while I became very orthodox in my approach to phrasings and tempos. For these concerts I will play on gut lower strings, but I will play with a modern bow because the Steinway piano is part of these programmes, and it wouldn’t be possible to change the tuning from work to work (415 to 440 Hz and back).
Can you outline the form of Bach’s Solo Suites?
The distinct character of each suite, informed by its key, is presented by the Prélude: it’s like entering a church, with the organ setting the mood. Then comes the Allemande which is like a sermon, an invitation to reflect on some wisdom, the longest of the dances. The Courante runs fast and lightly, contrasted with the Sarabande, which is like a prayer or processional, ‘alone with God’. Gavottes and Minuets are the most distinctive, aristocratic dances, while the Gigue is a heavier peasant dance and completes each suite.
How would you characterise the keys of the Suites?
In Bach’s time people were much more aware of the different character of each key. Johann Matheson in 1713, and later Christian Schubart in 1784/5 wrote very elaborate descriptions of keys, e.g. G major was serious as well as blithe, brisk, animated – but also ‘in love’ and ‘lascivious’! The cycle of the Suites could be seen as a cycle of life: the First in G major is juvenile, trusting, while the Second, in D minor, is sad, prayerful, but not tragic, the key in which Bach wrote the Art of Fugue. The Third Suite in C major has both feet in life, it’s proud, bright and brilliant, followed by the spiritual E flat major Suite, with its philosophical Prélude. For me, the Fifth Suite is tragic and dark, while the final Suite in D major is golden, festive, wise and profound.
You are mixing the Suites with the accompanied Sonatas: tell us about your pianist Alasdair Beatson.
Alasdair is a wonderful pianist and musician, and I am happy to be playing several programmes with him. The decision to play these Sonatas with piano instead of harpsichord was an important step into the interpretation already. I think it is either gamba/harpsichord or cello/piano. I love the conversation we have through this wonderful music.
What do you most like doing when you come to London?
I have a lot of friends in London, and my son and my partner live here as well. I like that London is quite a green city – lots of parks and very different areas to walk through.
We are delighted that the Brodsky Quartet are now a Resident Ensemble here at Kings Place.
The Quartet has a great reputation for pushing programming and artistic boundaries, much like Kings Place, and we are very happy to welcome them.
The Brodsky Quartet have had a solid association with the venue for some seasons now and further cemented this relationship with their performance of the full Shostakovich Cycle in April 2012 and their 40th anniversary celebrations here in December 2012.
December’s programme featured Crumb’s Black Angels and Schubert’s Death and the Maiden, a performance featuring the Quartet’s long-term friend and musical collaborator, Jacqui Dankworth and the Wheel of 4 tunes: the Quartet’s quirky lucky-dip project.
Paul Cassidy talks about their Anniversary Celebrations at Kings Place
Since its formation in 1972 the Brodsky Quartet has performed over 2000 concerts on the major stages of the world and released more than 50 recordings.
A natural curiosity and insatiable desire to explore has propelled the group in many artistic directions and continues to ensure them not only a place at the very forefront of the international chamber music scene but also a rich and varied musical existence.
Their energy and craftsmanship have attracted numerous awards and accolades worldwide, while ongoing educational work provides a vehicle for passing on experience and staying in touch with the next generation.
Photo by Nick White for the cover of Kings Place’s What’s On Magazine
by kingsplacelondon
Saxophonist, composer, master of free style rapping, activist and collaborator with Goldie, Jonzi D and Ms Dynamite, Soweto Kinch returns to Kings Place on Friday 31 May 2013.
We can’t wait!
He plays as part of a series exploring distinctive musical identities across Europe. The festival has been organised by music promoters Serious in response to a conference at Kings Place held by the Humanities in the European Research Area (HERA).
If you want more from Soweto before then, have a look at his full interview with London Jazz News about new album The Legend of Mike Smith, his recent sell-out shows at Ronnie Scott’s and more.
Following overwhelming demand for tickets to see Simon Schama talk about his new book and BBC TV series The Story of the Jews and the Fate of the World last night,Schama has announced a second date here at Kings Place.
Tomorrow - Wed 27 Feb at 7.15pm - Simon Schama will be in conversation with Ian Black, Middle East editor of The Guardian.
Jewish Book Week is in full swing and our friends at Jewish Quarterly are offering a free one month trial of their fantastic app to celebrate.
TheJewish Quarterlyis an international, London-based journal of ideas. Founded in 1953, it presents a vibrant Jewish perspective on contemporary culture.
Their recently launched app, for iPhone and iPad makes all of this available in digital format. Subscribers receive every page of each issue and a searchable archive dating back to Autumn 2007.
Jewish Quarterly is closely linked to Jewish Book Week: the award ceremony for their Jewish Quarterly-Wingate literary prize will be held during JBW, and their editor Rachel Lasserson is chairing a session on 3rd March.
App content will be free until 22 March and the app can be downloaded from here. Click ‘confirm’ when asked if you would like a one month free trial.
We are delighted to announce the launch of London A Cappella International Summer School
The summer schoolis a high quality and intensive four day course with a varied programme of events. Suitable for groups and individuals alike, including workshops and performances from some of the finest a cappella performers and educators in the industry, this is a vocal experience like no other.
Organised by the Swingle Singers, Ikon Arts and Kings Place, the LACISS will run from 1 - 4 August 2014 here at Kings Place.
Come and experience two world-class concert halls, purpose-built art galleries, a bar/café, waterside restaurant and award winning conference and events facilities - all under one roof.
