2021/22 SEASON CONCERT PROGRAMME
LONDON THIRD STREAM Wednesday 17 November 2021, 7.30pm Queen Elizabeth Hall
LONDON THIRD STREAM Wednesday 17 November 2021, 7.30pm Southbank Centre’s Queen Elizabeth Hall Shabaka Hutchings Hordes of Undemocratic Savages (2021; world premiere) Cassie Kinoshi Solaristic Precepts (2021; world premiere) Elliot Galvin Beginning of the Sharpness (2021; world premiere) Laura Jurd Ornette Variations (2021; world premiere) Elliot Galvin piano Laura Jurd trumpet Cassie Kinoshi saxophone Jumoké Fashola host Geoffrey Paterson conductor London Sinfonietta There is no interval during this event Hordes of Undemocratic Savages, Solaristic Precepts, Beginning of the Sharpness and Ornette Variations were commissioned by the London Sinfonietta. Supported by The London Community Foundation and Cockayne - Grants for the Arts, and the Southbank Centre. The London Sinfonietta’s Writing the Future programme is generously supported by The Boltini Trust, Jerwood Arts, Michael and Patricia McLaren-Turner and the PRS for Music Foundation. The London Sinfonietta is grateful to Arts Council England for its generous support of the ensemble, as well as the many other individuals, trusts and businesses who enable us to realise our ambitions.
WELCOME It’s a pleasure to welcome you to this concert back in the Queen Elizabeth Hall after the disruptions of the pandemic. Let’s all hope that the chance to give live concerts is now back for good. We are really looking forward to performing for you, so thanks for coming tonight. This project began with conversations between myself and Elliot Galvin who had composed for us in the recent past. There is a lot of interesting work to be done where jazz and classical traditions increasingly overlap, not least in the way the music is conceived. The four composers tonight suggested the title for the event, evoking the “Third Stream” movement that aimed to identify and explore this overlap, and I’m grateful to them all for making their new pieces for the ensemble. We also welcome back a regular collaborator Geoffrey Paterson to lead the evening from the podium. We are recording these pieces for a future release on our London Sinfonietta Channel, so you can hear them again. We are working to ensure all our performance projects provide inspiration both for work in schools and with young talented musicians, and some of the composers from tonight will be working with young people next term. We are grateful to individuals and trust funds who have contributed to making this project possible, and to the Arts Council whose investment in us makes our performances and everything else we do possible. Andrew Burke Chief Executive & Artistic Director
Welcome to the Southbank Centre. We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries, please ask a member of staff for assistance. Eating, drinking and shopping? Take in the views over food and drinks at the Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our great cultural experiences, iconic buildings and central London location. Explore across the site with Beany Green, Côte Brasserie, Foyles, Giraffe, Honest Burger, Las Iguanas, Le Pain Quotidien, Ping Pong, Pret, Strada, Skylon, Slice, Spiritland, wagamama and Wahaca. If you wish to get in touch with us following your visit, please write to the Visit Contact Team at Southbank Centre, Belvedere Road, London SE1 8XX, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. Southbank Centre
WHAT WE DO NEW MUSIC FOR NEW AUDIENCES The London Sinfonietta always strives to extend its reach to more people with the inspiring sound of new music. This season, we are encouraging everyone to Take Your Place back with us in our live and online work. It's a season with a lot of new work – 24 commissions and world premieres – as well as events which celebrate powerful pieces from our past repertoire. The new work includes music from different genres – from contemporary classical to jazz and experimental – and collaborations with different art forms including video, animation, theatre and literature. We will also be releasing new monthly content on our London Sinfonietta Digital Channel including a regular series of performance films, videos about new music and podcasts.
"It helped me realise anyone can be a composer – even a pupil!" Pupil response to Sound Out 2019
MUSIC IN SCHOOLS AND THE COMMUNITY The London Sinfonietta was the first ensemble in the UK to launch a dedicated music education programme. This pioneering spirit has continued and flourished ever since, expanding to include regular performances and workshops with members of the public. Our current schools project is Sound Out, which supports young people to compose with the incentive that some of their pieces will be performed by the London Sinfonietta. Working alongside our musicians, the young people are also encouraged to perform with us – and, we hope, re-inspired to be the next generation of creative artists. During the lockdowns of 2020 and 2021, we developed the programme to work online with a new set of video Composition Challenges. Schools around the UK have taken part, extending our reach to 12,000 young people.
LONDON SINFONIETTA CHANNEL Experience the best of the London Sinfonietta streamed directly to your device from the London Sinfonietta Channel.
DEVELOPING TALENT The London Sinfonietta supports emerging talent with its year-round programmes for composers, conductors and performers, giving early-career artists the opportunity to develop new skills and contacts as they establish themselves in the professional arena. Our composer development scheme, Writing the Future, seeks to create new pieces of music that expand the chamber music format, and is open to music creators from all cultural and musical backgrounds who are passionate about their art form and would like the opportunity to apply that experience to writing for a contemporary music ensemble. Applications are currently open for the London Sinfonietta Academy 2022 (closing 1 December 2021), which provides side-by-side coaching and performance opportunities to young musicians. Find out more and apply online at londonsinfonietta.org.uk/academy
"It’s been very stimulating and I’ve got so much out of it. It’s a privilege to play next to London Sinfonietta players." Academy Participant July 2019
This season we’re bringing you monthly releases of new performance films, celebrating landmark works from the 20th and 21st century, including Tōru Takemitsu’s Rain Coming, Tania León’s Toque, Mica Levi’s Greezy and Steve Reich’s Violin Phase. For podcast lovers, Yet Unheard explores the experiences of black composers, hosted by Jumoké Fashola. Find out more at londonsinfonietta.org.uk/channel
WHAT IS THE THIRD STREAM? Jazz and classical music have co-existed for more than a century. The chains of influence running both ways between them are not just ever-present and unavoidable, but also joyously unpredictable. Musicians with open ears, whether composers and improvisers, or both – as is the case of the four fine musicians whose works are being premiered tonight – will always seek out and find inspiration from the sounds and ideas that they want, and make use of them as they want. The so-called “third stream” (the other two streams being jazz and classical music) has always found its place in this porous context where everything is possible. Last year I was interviewing that wonderfully rebellious German jazz piano legend Joachim Kühn in order to write a liner note. Why had he chosen to record Bill Evans’ Peace Piece? Had he been listening a lot to Bill Evans? Er, no. The truth was that he had been taken by classical pianist Igor Levit’s recording of it, which had made him listen to it afresh. One can hear that specific influence in Kühn’s reading. Bill Evans
Maurice Ravel
Kühn’s remark opens up a hall of mirrors: compositions by Bill Evans such as Peace Piece and even more so Time Remembered are steeped in the harmonic language and the piano voicings of Ravel. And if one goes back further to 1928 and Ravel’s tour to America, one remembers the time he spent at the Cotton Club and which opened his ears to jazz, and led him to write an article with the unambiguous command in its title: “Take Jazz Seriously!” That phrase definitely rings in the mind. Jazz and improvised music are full of mesmeric, even messianic figures who can defy expectation: Cassie Kinoshi has mentioned the “formidable” Sun Ra; Laura Jurd has recalled Ornette Coleman and his “unique musical logic” and “childlike immediacy”. These are the gods who, in the words of the poet Rilke “disappear off through a narrow lyre,” a place where mere mortals may try to follow them... One composer, Alex Hawkins composer recently wrote self-effacingly about the challenge of writing for an iconic improviser. He was writing about Evan Parker, but it could be said of a number of the greats: “He is such a master that
I'm not sure I could write anything which would be anywhere near as interesting as what he would do himself.” “Third Stream”, then, fits in this to-and fro between improvising and composing. The term was invented by composer Gunther Schuller (1925-2015) in 1957, and he went on writing about it, and guarding it – very jealously and idiosyncratically, by all accounts – as its custodian for the rest of his life. For example, in an article, commissioned from him in 1982, which still appears in the Grove Dictionary of Jazz, he defined it as “a type of music which, through improvisation, written composition or both, synthesizes the essential characteristics and techniques of contemporary Western art music and various ethnic and vernacular musics.” He then put in a caveat, which, if one is being pedantic, could actually be construed as contradicting the letter of the first statement: Schuller dissociates “third stream” from earlier “Symphonic Jazz”, because in his view the latter “lacked the essential element of improvisation.”
Gunther Schuller
Ornette Coleman
Schuller’s ideas worked for him, but surely the simple binary opposition of classical music and ‘other’ music(s), and especially with the benefit of hindsight, is far too reductive. Schuller founded and presided over a Third Stream department at the New England Conservatory (NEC), but the name was consigned to history in 1992 when the department was re-named “contemporary improvisation”. NEC has also spawned an “Intercultural Institute” where important figures such as Istanbul-born Mehmet Al Sanlikol open up many different musical worlds and strong traditions to each other. In essence, the net of inspiration now needs to be cast far wider than the original term allowed. Improvisation is by its nature an art which encourages its exponents to be true to themselves. In the moment, on the stage, in front of an audience witnessing the act of creation, there is no alternative. So one thing is certain: all four composers will bring energy, authenticity and a gamut of inspiration and expression to tonight’s concert. It is an exciting prospect! Sebastian Scotney, November 2021
SHABAKA HUTCHINGS
Hutchings was born in 1984 in London. He moved to Barbados at the age of six, began studying classical clarinet aged nine, graduating to tenor saxophone which has been a regular sight across London and the UK since his return aged sixteen. As part of the Caribbean diaspora, he sees his role as that of pushing the boundaries of what musical elements are considered to be Caribbean, constantly evaluating the nature of his relationship with musical material and tradition. Hutchings has three primary projects – Shabaka and the Ancestors, Sons of Kemet and Comet is Coming. Between them, Hutchings has gathered a substantial number of awards and nominations, including winning the 2013 MOBO ‘Jazz Act of the Year’, winner of the 2014 Paul Hamlyn Composer Award, 2015 Jazz FM Awards ‘Instrumentalist of the Year’, 2016 Mercury Music Prize nomination, 2017 Jazz FM Awards ‘UK Jazz Act of the Year’, 2018 Jazz FM Awards ‘Jazz Innovation of the Year’ and a 2018 Mercury Music Prize nomination. Shabaka continues to sit outside the box, interested in the undefinable gaps and going beyond jazz. To date, Hutchings has released to critical acclaim eight studio albums and three EPs, alongside featuring on several other albums with highly respected artists. Currently signed to the iconic Impulse! record label.
HORDES OF UNDEMOCRATIC SAVAGES (2021) Hordes of Undemocratic Savages was written for the London Sinfonietta in 2021, and first performed by the ensemble at the Southbank Centre's Queen Elizabeth Hall on Wednesday 17 November 2021.
CASSIE KINOSHI
Cassie Kinoshi (b. 1993) is a Mercury Awardnominated and Ivors Academy Award-winning (formerly known as BASCA, British Composer Award) London-based composer, arranger and alto-saxophonist. She is currently working in theatre, film, contemporary dance and both the jazz and classical performance worlds. Cassie is best known for her work with her large ensemble seed. (formerly known as SEED Ensemble) alongside bands KOKOROKO and Nérija. She was Mercury Musical Developments’ and Musical Theatre Network’s Cameron Mackintosh Resident Composer Scheme recipient at Dundee Rep Theatre from 2018-19 and was a part of the London Symphony Orchestra Panufnik Scheme 2018-19.
SOLARISTIC PRECEPTS (2021) I II III
True Wisdom The Sequence of Life Time to Live
"Music is the purest form of expression, a universal language which reaches the emotions directly. Then again, unlike language, music is neither arbitrary nor a creation of human beings. Music preceded the human world, and could continue to exist without humans." Solaristic Precepts is inspired by the philosophical approaches to music and life by the formidable musician, composer and thinker Sun Ra. Solaristic Precepts takes its title from the widelycirculated leaflet of the same name; an abstract elucidation of the connection between language, life and death, collectiveness and the recognition of history being cyclical and constant; “The sequence of life is the thorough consideration of the patterns of the past because coming events cast their shadow before.” Constantly striving to understand and accept both his music and existence's role in the universe was central to Sun Ra’s transformative journey as an artist and his equations [philosophies]. Solaristic Precepts is my sonic impression of, “sounds peculiar relation to being” and attempts to take the listener on an introspective journey when considering the connection between the universe, self and music.
ELLIOT GALVIN
Elliot Galvin is one of the rising stars of UK jazz. A superbly gifted composer and pianist, whose maverick imagination and magpie-like ability to blend a disparate world of influences into his own unique musical vision has seen him compared to Django Bates, although in truth he sounds like no one except himself. Elliot is a prolific composer and has been comissioned by a number of ensembles, dance companies, theatre groups and festivals including the London Sinfonietta, Ligeti String Quartet, St. John Smith’s Square, The London Jazz festival, The RESOLUTION! Dance Festival at The Place and the Theatre Company Cut Tongues. He works regularly with multi-media and in 2014 put on a multi-media installation piece at the Turner Contemporary Gallery, which consisted of live performance, interactive sound sculptures and film. He performs regularly as a soloist, recently releasing the entirely improvised album 'Live in Paris at Fondation Louis Vuitton' and is a key member of the Mercury-nominated Band Dinosaur. He has recently began a duo project with the renowned saxophonist Binker Golding (one half of Binker and Moses), with whom he released the critically acclaimed album Ex Nihilio on Byrd Out records in February 2019.
BEGINNING OF THE SHARPNESS (2021) Beginning of the Sharpness is about cycles and the absurd. How things move in patterns and yet are often unpredictable and can change direction completely without warning. It’s inspired by the traditions of improvisation and notation, how these two aspects of music can seem totally incompatible and yet somehow fit together. There is often a debate about which is superior and should be held in higher regard within music, but sound is sound and much like in society, diversity is stronger and more interesting than hegemony. There’s freedom in restriction and restriction in freedom and for this piece I’ve tried to blur the lines between the two. The title of the work comes from a quote in The Third Policeman by Flann O’Brien that reads “What you think is the point is not the point at all but only the beginning of the sharpness”.
LAURA JURD ORNETTE VARIATIONS (2021) I II III
Laura Jurd is a trumpet player, composer and improviser from the UK. A recipient of multiple awards and a BBC New Generation Artist from 2015-2017, Laura has developed a formidable reputation as one of the most distinctive and creative composer-performers to emerge from the UK in recent years. Performing regularly throughout the UK and Europe, she leads the 2017 Mercury-nominated band Dinosaur who have performed at North Sea, Montreal and Molde International Jazz festivals to name a few. A highly active composer, Laura is equally at home writing for contemporary chamber groups and orchestras as she is writing for jazz ensembles and improvising musicians. Frequently creating works that present musical ingredients from outside the world of jazz music, within the realms of a jazz band, she has been commissioned by the likes of the BBC Proms and the National Youth Jazz Orchestra, the BBC Concert Orchestra, Ligeti Quartet and the Northern Sinfonia. In light of this, Laura recently received a prestigious Paul Hamlyn Foundation Award for Composers as well as a 2019 Ivor Composer Award. A passionate educator, Laura also teaches composition at Trinity Laban Conservatoire of Music and Dance; jazz trumpet at Goldsmiths University; and works with the National Youth Orchestra, and the National Youth Jazz Collective.
Intro / Sanity Focus Ornette on 'Peace' LW
In 1959, American Jazz saxophonist and 20th Century icon Ornette Coleman released 'The Shape of Jazz To Come'. It quickly became one of jazz's most iconic recordings, paving the way for Ornette's free-spirited, music-making philosophy to influence artists from all over the globe. What captivates me about Ornette's playing and music is the way he completely gives himself to the moment, the clear connection to the blues and the direct nature of his delivery – a directness that comes from a self-taught musician who's nurtured his own, unique musical logic. There's a child-like immediacy to his melodies that cuts straight to the core. He also manages to bring 'Ornette' to the wealth of ensembles and musical settings he cultivated over his lengthy career. His 1972 record with the London Symphony Orchestra, 'Skies of America' is in my mind, one of the most successful meetings of a jazz musician and a classical orchestra as he boldly transforms the orchestra into Ornette Coleman. In Ornette Variations I have taken fragments of his material and brought them into my own musical world – often in such a way that they become disguised amongst harmonies and textures which are part of my own creative palette. At other times, there is a more obvious connection to Ornette, via bursts of improvisation from the solo alto saxophone and trumpet parts. Each movement is directly connected to a composition from 'The Shape of Jazz To Come', perhaps recognisable by the Ornette connoisseurs in the audience. This music celebrates Ornette Coleman through a compositionally-organised and musically-contrasting lens, yet is highly inspired by his commitment to the moment, strength of ideas and instinct.
LONDON SINFONIETTA The London Sinfonietta is one of the world’s leading contemporary music ensembles. Formed in 1968, our commitment to making new music has seen us commission over 400 works and premiere many hundreds more. Our ethos today is to constantly experiment with the art form, working with the best composers and performers and collaborating with artists from alternative genres and disciplines. We are committed to challenging perceptions, provoking new possibilities and stretching our audiences’ imaginations, often working closely with them as creators, performers and curators of the events we stage. Resident at the Southbank Centre and Artistic Associate at Kings Place, with a busy touring schedule across the UK and abroad, the London Sinfonietta’s core 18 Principal Players are some of the finest musicians in the world. As well as our commitment to reaching new audiences with world-class performances of new music, and developing the talent of composers and musicians, the organisation holds a leading position in education work. We believe that arts
participation is transformational to individuals and communities, and that new music is relevant to all our lives. These values are enacted through primary and secondary school composition projects and concerts across the UK, interactive family events, and the annual London Sinfonietta Academy; an unparalleled opportunity for young performers and conductors to train with our Principal Players. The London Sinfonietta has also broken new ground by launching its own new digital Channel, featuring video programmes and podcasts about new music. We also created Steve Reich’s Clapping Music App for iPhone, iPad and iPod Touch, a participatory rhythm game that has been downloaded over 400,000 times worldwide. Recent recordings include George Benjamin’s opera Into the Little Hill (Nimbus; 2017), Benet Casablancas’ The Art of Ensemble (Sony Classical; 2018), David Lang’s Writing on Water (Cantaloupe Music; 2018) and Philip Venables’ debut album Below the Belt (NMC; 2018) and Marius Neset’s Viaduct (ACT; 2019).
TONIGHT'S PLAYERS
STAY IN TOUCH
Harry Winstanley flute/alto flute Emma Williams flute Timothy Lines clarinet/bass clarinet Katy Ayling clarinet/bass clarinet Aaron Azunda Akugbo trumpet Erika Curbela trumpet Ruth Molins trombone Thomas Gould violin Róisín Walters violin Fiona Winning viola Sally Pendlebury cello Enno Senft* bass Helen Tunstall* harp David Hockings* percussion Louise Goodwin percussion
Whatever your interest in new music – as a composer, performer, teacher, student, amateur musician, or as an audience member interested in contemporary arts – we welcome you to our community.
*London Sinfonietta Principal Player
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CURRENT SUPPORTERS London Sinfonietta would like to thank the following organisations and individuals for their support: TRUSTS AND FOUNDATIONS Art Mentor Foundation Lucerne, Aspinwall Educational Trust, Barbara Whatmore Charitable Trust, Boltini Trust, Boris Karloff Charitable Foundation, Britten Pears Foundation (now Britten Pears Arts), Cockayne – Grants for the Arts, The Derek Hill Foundation, Ernst von Siemens Music Foundation, Fenton Arts Trust, The Fidelio Charitable Trust, Garfield Weston Foundation, Garrick Charitable Trust, Golsoncott Foundation, The Harold Hyam Wingate Foundation, Jerwood Arts, The Leche Trust, Leverhulme Trust, Lucille Graham Trust, PRS for Music Foundation, Rainbow Dickinson Trust, RVW Trust, Samuel Gardner Memorial Trust, Stanley Thomas Johnson Foundation, Steven R. Gerber Trust, Summerfield Charitable Trust, Thriplow Charitable Trust, UK Antarctic Heritage Trust HONORARY PATRONS David Atherton OBE John Bird Sir Harrison Birtwistle Alfred Brendel KBE Gillian Moore MBE Nicholas Snowman OBE ENTREPRENEURS Mark Benson Sir Vernon Ellis Annabel Graham Paul Anthony Mackintosh Stephen & Dawn Oliver Nick & Claire Prettejohn Paul & Sybella Zisman Robert McFarland Michael & Patricia McLaren-Turner SINFONIETTA CIRCLE John Bird Susan Costello Trevor Cook Dennis Davis Régis Gautier-Cochefert Susan Grollet John Hodgson Andy Spiceley Charlotte Morgan
ARTISTIC PIONEERS Sharon Ament Anton Cox Nicholas Hodgson Simon Osborne Philip Meaden Julie Nicholls CREATIVE PIONEERS Ian Baker Frances Bryant Andrew Burke Jeremy Clarke Richard & Carole Fries John Goodier Patrick Hall Chris Heathcote Simon Heilbron Andrew Hunt Frank & Linda Jeffs Walter A. Marlowe Stephen Morris Andrew Nash Richard Price Malcolm Reddihough Ruth Rattenbury Iain Stewart Susan Sturrock Mark Thomas Fenella Warden Jane Williams Margarita Wood Plus those generous Lead, Artistic and Creative Pioneers who prefer to remain anonymous, as well as our loyal group of Pioneers. PRINCIPLE PLAYERS Michael Cox flute (supported by Michael & Patricia McLaren-Turner) Gareth Hulse oboe (supported by John Hodgson) Mark van de Wiel clarinet (supported by Régis Cochefert) Simon Haram saxophone Byron Fulcher trombone Jonathan Morton first violin (supported by Paul & Sybella Zisman) Paul Silverthorne viola (supported by Nick & Claire Prettejohn) Tim Gill cello (supported by Sir Stephen Oliver QC) Enno Senft double bass (supported by Anthony Mackintosh)
Helen Tunstall harp (supported by Charlotte Morgan) David Hockings percussion (supported by Andy Spiceley) LONDON SINFONIETTA COUNCIL Fiona Thompson chair Sud Basu Andrew Burke Régis Cochefert Tim Gill (principal player) Annabel Graham Paul Kathryn Knight Charlotte Morgan Jonathan Morton (principal player) Paul Silverthorne (principal player) James Thomas Ben Weston LONDON SINFONIETTA STAFF Andrew Burke Chief Executive Frances Bryant General Manager Elizabeth Davies Head of Finance Volker Schirp Financial Assistant Holly Cumming-Wesley Head of Concerts & Production Deborah Famodun Digital and Production Assistant Rhuti Carr Head of Participation & Learning Aoife Allen Participation & Learning Producer Phoebe Walsh Marketing Manager Isaku Takahashi Marketing Officer Adam Flynn Digital Productions Manager AMBASSADORS Penny Jonas Anthony Mackintosh Robert McFarland Belinda Matthews Philip Meaden Sir Stephen Oliver QC FREELANCE & CONSULTANT STAFF Hal Hutchison Concert Manager Lesley Wynne Orchestra Personnel Manager Tony Simpson Lighting Designer WildKat PR The London SInfonietta is grateful to its auditors and accountants MGR Weston Kay LLP.
LONDON SINFONIETTA'S 2021/22 SEASON AT THE SOUTHBANK CENTRE A CATALAN CELEBRATION A programme celebrating the legacy of Roberto Gerhard and showcasing the work of younger Catalan composers Wed 1 December Queen Elizabeth Hall THEN & NOW Two contrasting new works using text to explore issues affecting the lives of individuals and communities Age warning: 18+ Sun 6 February Purcell Room at Queen Elizabeth Hall NIGHT SHIFT Audience participation is central to this immersive musical experience Thu 10 March Queen Elizabeth Hall SOUND OUT LIVE Inspiring the next generation of composers in this concert for schools and young people Thu 24 March, Royal Festival Hall
TAPESTRIES Kaleidoscopic and sensually colourful music from George Lewis and Alex Paxton Thu 31 March, Queen Elizabeth Hall LEANING EAST Celebrating contemporary musical life in Poland with two world premieres Wed 27 April, Queen Elizabeth Hall LONG SONG OF SOLITUDE Claude Vivier's masterpiece Lonely Child, plus a new work by Nicole Lizée inspired by Vivier Fri 6 May, Queen Elizabeth Hall For full details and to book visit londonsinfonietta.org.uk or southbankcentre.co.uk Find us on social media: @Ldn_Sinfonietta @london.sinfonietta LondonSinfonietta LondonSinfonietta