Two decontamination concerts tomorrow evening in the RNCM Carole Nash Recital Room starting at 8pm featuring excellent performers and music. They’re going to be awesome and you should get your tickets here and come along.
I’m delighted to welcome back Aisha Orazbayeva to Decontamination after her performance of Bryn Harrison’s Receiving the approaching memory last year with Mark Knoop. I’m particularly happy that she’s sharing performances of these two composers; I have enjoyed the daring and debate of her interpretation of Telemann as well as vivid performances of Sciarrino. This is not the first time Kathryn Williams has performed Sciarrino at the RNCM however these two pieces, originally designed as a pair, are rarely performed as such because of the extraordinary physical demands of the former. For a performer obsessed with breath control and physical exercise with performance these form the perfect challenge. I’m delighted that she is including two pieces from her Coming up for air project, a creative and commissioning project of pieces limited to a single breath. Both have special connections to the RNCM; Josh Mock is a former Junior RNCM Student and current composer with the National Youth Orchesta of Great Britain. His piece was developed with Kathryn on their most recent residency. Mark Dyer is a current RNCM PhD student and his work on musical ruin, in this case off well known early 20th Century music for flute, fits perfectly into this short concert.
It’s always a little strange to have a concert of a single piece in a series that, for the most parts, looks at different musical/performance outcomes from comparable ideas and starting points. However in this case the juxtapositions seems built in; happy music, sad dance and a collaborative triangle of three performers (Matthew Shlomowitz, Aisha Orazbayeve and Shila Anaraki) in distinct roles asking and answering questions through music, speech and movement. I enjoy the unpretentious immediacy of pieces that wear their questions on their sleeves and the pieces that I know that take the form of lectures (for example pieces by Johannes Kreidler or Trond Reinholdtsen as well as others by/with Matthew) tend towards the exploratory, strange, approachable and fun.
Here is related, unnecessary and joyous little extra; a link to Mark Dyer performing Matthew Shlomowitz’s Letter Piece 1 with Elizabeth Ditmanson. I really like this performance.
Decontamination #12: Fragmentation and Distortion
In this short concert, violinist Aisha Orazbayeva and flautist Kathryn Williams perform solo music by Salvatore Sciarrino alongside radical interpretations of early music. Sciarrino’s often fleeting, fragmentary, inherently exploratory music that pushes instrumentalists to their limits is matched with early music imagined through extended techniques and maverick performance practice.
Let it all out – Joshua Mock
Come vengono prodotti gli incantesimi? – Salvatore Sciarrino
Canzona di Ringraziamento – Salvatore Sciarrino
Momento – Mark Dyer
1-3 from Six Caprices for violin – Salvatore Sciarrino
1 & 6 from 12 Fantasias for violin without bass – Georg Philipp Telemann
Aisha Orazbayeva (violin)
Kathryn Williams (flute)
Decontamination #13: Lecture about sad music and happy dance
The third of Matthew Shlomowitz’s provocative lecture pieces, Lecture About Sad Music and Happy Dance, is a collaboration between himself, dancer-choreographer Shila Anaraki and violinist Aisha Orazbayeva. He asks: How can abstract music and dance elicit emotional responses from audiences? What can evolutionary biology tell us about emotional reactions to art? Do the sonic qualities of sad music relate to the physical qualities of sad dance? How does the happy dance of France compare with the happy dance of Indonesia? What emotion does sadness plus surprise combine to make? Why do we want to see art that makes us feel sad, and why does sad art sometimes make us happy?