Tweets from Easter at King's 2017 (and a night at Cambridge Modern Jazz)
More views of - or before - Cambridge Film Festival 2016 (20 to 27 October)
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Tweets from Easter at King's 2017 (and a night at Cambridge Modern Jazz)
Finally - thanks to a good price and a friend's generosity - able to listen to the @AAMorchestra 3-disc St Matthew Passion this Lent...— THE AGENT APSLEY (@THEAGENTAPSLEY) March 16, 2017
Tuesday 11 April :
As several years before, part of Holy Week was saying hello to @bojancic and hearing him :https://t.co/nvYE2iFRh3https://t.co/QSNUDILfF3— THE AGENT APSLEY (@THEAGENTAPSLEY) April 26, 2017
.@ConcertsatKings @AAMorchestra @BojanCicic @SJCleobury Of probably half-a-dozen performances of St Matthew Passion that have been heard at Easter at @Kings_College, @SJCleobury surpassed them all— THE AGENT APSLEY (@THEAGENTAPSLEY) April 12, 2017
.@ConcertsatKings @AAMorchestra @BojanCicic @SJCleobury With almost too many fine vocal and instrumental soloists to record, the oboists and continuo-players of @AAMorchestra are always a strength— THE AGENT APSLEY (@THEAGENTAPSLEY) April 12, 2017
More instalments due of Some Tweeting from Easter at King's 2016 - so far, @AAMorchestra @nycgb @BrittenSinfonia :https://t.co/XgIct2hrU7— THE AGENT APSLEY (@THEAGENTAPSLEY) March 25, 2016
Wednesday 12 April :
With held bows, instrumentalists can encourage delayed applause, but not the reverential hush as for Messiaen to-night at @ConcertsatKings.— THE AGENT APSLEY (@THEAGENTAPSLEY) April 12, 2017
From 1937 and The World Fair in Paris, with Fête des belles eaux for six ondes martenots, to Louange à l'Éternité de Jésus for cello and pf.— THE AGENT APSLEY (@THEAGENTAPSLEY) April 12, 2017
.@PosterTom @cellojohnston Its impact set us up to end on Louange à l'Immortalité de Jésus (the 8th section, from an organ piece), played by @ElenaUrioste @PosterTom.— THE AGENT APSLEY (@THEAGENTAPSLEY) April 12, 2017
Easter at King's continued last night with another outstanding concert https://t.co/HFCLobwnPo @kings_college @concertsatkings— Cambridge What's On (@CamWhatsOn) April 13, 2017
Stories have arisen about the genesis of Quatuor pour la fin du temps, and they're easy to repeat : what one cannot repeat is a performance. https://t.co/lIrHqx1xPh— THE AGENT APSLEY (@THEAGENTAPSLEY) April 13, 2017
Maundy Thursday [at Cambridge Modern Jazz, with Arnie Somogy's 'Jump Monk' Quintet] ~ 13 April :
Deserting @ConcertsatKings at Easter for @camjazz, last night, allowed one to take in @tonykofi's direct, but full and warm, tone on alto !— THE AGENT APSLEY (@THEAGENTAPSLEY) April 14, 2017
Not in any formally aleatoric way, but just because that was how pieces had fallen from, and been restored to, his music-stand, leader Arnie Somogyi (double-bass) deviated from the set-list, and so there was an uneven spread between what Thelonius Sphere Monk and Charles Mingus had written :
This went well, because we knew that we were in for an evening of Monk and Mingus staples – the latter had even written ‘Jump Monk’ for the former (even if most of Monk’s puns or wordplay remained just as obscure). When frontmen, Tony Kofi (alto) and Jeremy Price (trombone) stepped aside, we reduced to the cohesive form of the classic trio, with Mark Edwards (piano) and Clark Tracey (drums) playing tightly with Somogyi, and not even averse to a solo, all of which rarely did not have us nodding along to what these exponents of their art were devising.
Price and Kofi are very different players, so they did not try to compete with each other’s style, and Price’s playing complemented the improvisation that we had heard from Kofi : they each listened with care to the other, and, whereas Kofi’s is a more right-ahead sound, Price played with an inward-out manner that focused on a rounded tone-quality. As the audience did, who were really getting into these developmental lines, Somogyi must have liked long-form solos, and he would only sparingly call in any of the players, when he wanted to shape where the number was going. All in all, a very full and good night’s jazz !
Season hi-light Arnie Somogyi JUMP MONK Qnt with @tonykofi @ClarkTracey1 Thu Apr 13 @HiddenRooms 8pm. https://t.co/Pm1Y77m8Jm 07827 012875 pic.twitter.com/GFwiivzJ5W— camjazz (@camjazz) April 4, 2017
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In the @ConcertsatKings programme-book for Easter at @Kings_College, a very nice, detailed write-up of @JoyLisney's work and career for Thu.— THE AGENT APSLEY (@THEAGENTAPSLEY) April 12, 2017
Playing the solo part in the Haydn concerto in D, and directing, @JoyLisney gave the first concert by @SeraphinCO :https://t.co/uuAMDTL3U7 https://t.co/9BQo20YMP4— THE AGENT APSLEY (@THEAGENTAPSLEY) April 12, 2017
If last night, at @ConcertsatKings @Kings_College, was your first time of hearing @JoyLisney, this video from @KingsPlace is worth watching. https://t.co/87Ndll1LGj— THE AGENT APSLEY (@THEAGENTAPSLEY) April 14, 2017
LIVE from @KingsPlace @Kingsplaceevent #Britten Suite No. 3 for Cello, performed by @JoyLisney https://t.co/nEh5EiGIoc via @YouTube— Joy Lisney (@JoyLisney) December 11, 2015
Good Friday ~ 14 April :
Enjoyed 2 days working with @BBCCO & @Philchorus & now looking forward v much to Brahms Requiem concert @ Easter at King's festival tonight.— Stephen Cleobury (@SJCleobury) April 14, 2017
An interesting programme around the Brahms - the context given by the Bruckner and Mozart looks illuminating, @SJCleobury @ConcertsatKings. https://t.co/9kLupgbeDW— THE AGENT APSLEY (@THEAGENTAPSLEY) April 14, 2017
For @ConcertsatKings at Easter, the immensely impressive sound of @Philchorus in full voice - many accolades as people left @Kings_College !— THE AGENT APSLEY (@THEAGENTAPSLEY) April 14, 2017
Holy Saturday ~ 15 April :
Today the orchestra alongside Britten Sinfonia Voices will be singing the chorales from St John Passion in the rehearsal room together— Britten Sinfonia (@BrittenSinfonia) April 10, 2017
@THEAGENTAPSLEY did you see Mark's article in Saturday's Guardian? https://t.co/TIklmeAzkk— Britten Sinfonia (@BrittenSinfonia) April 10, 2017
Many thanks, @MarkPadmore, @BrittenSinfonia + Voices, @ejdougan, for your vision of Bach's St John Passion, last night at @ConcertsatKings ! https://t.co/XXEpcj1OWX— THE AGENT APSLEY (@THEAGENTAPSLEY) April 16, 2017
.@ConcertsatKings @BrittenSinfonia Directed by leader Jacqueline Shave and doubtless influenced by @markpadmore (as Evangelist), a performance of solemnity, but not pretension— THE AGENT APSLEY (@THEAGENTAPSLEY) April 16, 2017
.@ConcertsatKings @BrittenSinfonia @MarkPadmore They gave an intense sound en masse, with tautness to the turba choruses, and Mark Padmore a dignified narrator - but expressively chromatic— THE AGENT APSLEY (@THEAGENTAPSLEY) April 16, 2017
.@ConcertsatKings @BrittenSinfonia @MarkPadmore All credit to @ejdougan - as director of @BrittenSinfonia Voices - for the quality of what we heard from them : together and in solo arias !— THE AGENT APSLEY (@THEAGENTAPSLEY) April 16, 2017
.@BrittenSinfonia Likewise, the Chorus (16b) :— THE AGENT APSLEY (@THEAGENTAPSLEY) April 18, 2017
Wäre dieser nicht ein Übeltäter,
wir hätten dir ihn nicht überantwortet.
St John Passion at @ConcertsatKings
Easter Monday ~ 17 April :
Nearly all over, at @ConcertsatKings at Easter, with just the organ recital at 5.30 p.m. :https://t.co/LHmvbcVHLvhttps://t.co/QSNUDILfF3— THE AGENT APSLEY (@THEAGENTAPSLEY) April 16, 2017
.@ConcertsatKings These Liszt transcriptions are for those who love the sound-world of the Piano Sonata in B Minor, S. 187 - and don't see 'mere' Romanticism.— THE AGENT APSLEY (@THEAGENTAPSLEY) April 18, 2017
.@ConcertsatKings His artist note :— THE AGENT APSLEY (@THEAGENTAPSLEY) April 18, 2017
He is also eager to perpetuate the art of improvisation in all of its forms, including the accompaniment of silent films
One can read more about @thomasospital on his web-site :https://t.co/E16Gja9rDV— THE AGENT APSLEY (@THEAGENTAPSLEY) April 18, 2017
[This part of https://t.co/ZBEEWqJKee is in English] https://t.co/hzNDh4D23L
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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
