Archive for September, 2012

New CD

Saturday, September 22nd, 2012

Alex Heffes is a dear friend and very wonderful film composer (Last King of Scotland, State of Play, Touching the Void) and a few years ago he managed to get us the vast Turbine Hall of the Tate Modern one night to record. It was rather magical to be there alone at night with nothing but a rather loud hum on a slightly sharp low G – I suggested trying to find the machine in question and turning it off, but it turned out to be the main electrical station for SE London so we thought we’d better leave it. The clever people in post-production were able to get rid of the hum completely.

800px-tatemodernturbinehalllondonarp

It was part of a project of Alex’s that went over some time, recording free improvisations with different duo partners, and now the result is out on a CD. Alex’s other partners are Riuichi Sakamoto, Tunde Jegede, Yasmin Levy, Regina Spektor and Kawesi, and I think the results are beautiful. More info here. Alex is still young for a composer, winning awards all over the place and getting bigger and bigger films to score – it’s an exciting career to watch.

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Back at Kings Place

Thursday, September 6th, 2012

Right now I’m in sunny Lyon, rehearsing Brett Dean’s amazing score for cello and electronics for the genius ballet of Jiri Kylian: One of a Kind. It’s such a privilege to be a part of.

But next week I’m back in London with two new programmes for the Kings Place Festival on Friday 14th. First, at 12.30pm I’m playing with an extraordinary musician – Adrian Freedman – an Englishman who lived in Japan for 7 years studying the Japanese flute, the Shakuhachi. It’s one of the most beautiful instruments I know, a haunting, totally human sound that goes straight to your soul. We’re going to be presenting a programme that will be built around silence (sounds like an easy gig?). It takes enormous concentration, and is deeply meditative…the silence begins to have a musical quality of its own, and each phrase of music that pierces that silence sounds so full . Adrian’s CD, Music on the Edge of Silence is an inspiration for it.

Then at 1.45pm I’m with my old running mate (equally wonderful!) Julian Joseph, and the one-and-only Paul Clarvis on percussion for a new collection of Brazilian songs including Beatriz (I think it’s one of the most beautiful love songs ever written, based on a true story about an Austrian medical student’s hopeless love for a ballerina), and Aguas de Marco, the song some considered Jobim’s greatest.

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