Autumn 2016 Update

As the autumn sets in, and the sun (what little we had of it, anyway) slinks sheepishly into the distant London sky, it’s time to look ahead to what promises to be an incredibly exciting autumn.

I recently returned from a thrilling week in Aldeburgh with The Hermes Experiment, developing our adaptation of Shakespeare’s The Winter’s Tale. Armed with more fish and chips than you could shake a salted chip at, we worked with director Nina Brazier, composer Kim Ashton, and a team of five wonderful actors to bring our dramatic musical concept to life.

Soon after, I returned to the Bristol Ensemble to play the Mozart Concerto in the breathtaking half-ruins of 12th-century Malmesbury Abbey. The Bristol Ensemble are a lovely group to work with, and it’s always a pleasure to return. I hope to be revisiting them in the not too distant future…

Mozart abounds this autumn; rehearsals have just begun for Amadeus at the National Theatre. Cellist Paddy Johnson and I will be taking part in a behind the scenes blog, documenting everything from the theatricality of interacting with actors whilst playing, to the considerations taken when an entire orchestra is on a giant revolving stage…

Elsewhere, I had the pleasure of interviewing pianist Joseph Moog for Interlude’s October Artist of the Month. Apollo Music Projects’ next season is also getting into full swing; we will have another 20 schools this year benefitting from visits from professional musicians, with additional visits from our international Associate Artists later in the year.

Last but not least, The Hermes Experiment hits Cambridge in a few weeks for a double bill: firstly, providing live improvised accompaniment to the 1923 silent film Salome at the Cambridge Film Festival on 23 October; secondly, giving a live workshop and evening performance of the winning entries of this year’s Cambridge Young Composer of the Year Competition. We then return to London for Lexicon, in collaboration with New Dots, with new works by Andrew Thomas, Jia Chai, Freya Waley-Cohen and improvised music to poetry by Ali Lewis.


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