British Museum – Enlightenment Gallery
13th December 2o13630pm
Music by David Gorton, Matteis, Walther, Sadie Harrison, Mihailo Trandafilovski, Rousseau…
Peter Sheppard Skaerved-Violin
with Julian Perkins-Harpsichord
and Mihailo Trandafilovski-Violin, Diana Mathews-Viola, Lucy Railton-Cello
Facing Enlightenment: ‘Peter Sheppard Skaerved has been commissioning composers to write works for the Enlightenment Gallery since 2006, reflecting on the challenge which this astonishing room offer us today. For this latest stage, he brings together a precious Andrea Amatai violin from the 1560’s, a living composer, David Gorton, and music from the height of the enlightenment. This event will be part concert, part discussion, part installation. Music and ideas old and brand new, in provocative dialogue’
Jim Aitchison-Fugue Refractions (After the Laocoon Group)
Peter Sheppard Skaerved
Session outtakes 17 05 2010
Tring Parish Church
Engineer Jonathan Haskell-Astounding Sounds
I – Fugue Refractions 1
II Molto piu mosso
III Veloce e misterioso
Jim Aitchison’s website is fascinating. Take a look!
Howard Skempton-Tally (For Enlightenment Gallery-British Museum) 2006PSS-ViolinOuttake. Recorded 25-1-10 Engineer/Producer: Jonathan Haskell www.astoundingsounds.co.uk
Paul Pellay-Fjord – Flamm Remembered – Flecks (Live)
Peter Sheppard Skaerved-Morgan Goff-Neil Heyde
South London Gallery, London 2010
Camera-Colin Still (Optic Nerve)
Sound- Jonathan Haskell (Astounding Sounds)
Michael Alec Rose-Palimpsest
Palimpsest was written in 2006 for my first residency at the British Museum. It was inspired by the Gray’s Inn Road Hand-axe. The full title continues ‘on an axe head in the Enlightenment Gallery at the British Museum’. Again, performance indications proffer poetic insight. ‘With Adamantine evenness’, ‘An axe-edge’s breadth slower’, ‘Il tempo fugge!’
Michael Alec Rose-3 Short Obsessions
New sounds have always flooded across musical borders by means of trade and travel. The first bowed string instruments were brought to Europe from Asia in the century before the Renaissance. By the late 17th century, the violin had anchored itself into the musical practises of both secular and religious celebrations and observation, from feasting to prayer. But it must not be forgotten that the excitement about music is also centred on a particular fascination with the tools that are used to make music, both as historical objects, objects of inspiration, and objects of change. The violin is the ultimate example of this-an extraordinary piece of technology, capable of extraordinary flexibility, and almost limitless potential for ‘up grades’ and alteration. Its function and meaning have been in more or less constant flux for nearly 500 years.
DmitriSmirnov – Amore Sola*
Judith Bingham – We Two (The Lost Works of Paganini) Bingham at the bM
Michael Alec Rose – Palimpsest (the Grays Inn Hand Axe)* Rose at the BM
Trad. Knud Larsens Halling (PSS, after Halvorsen, after Knud Dahle) Knud Larsens Halling
The Telemann Fantasies are the archetypical 18th Century domestic piece-music of the highest quality designed to be played at home at the table, as the companion piece to eating and conversation. These will be presented alongside works by living composers responding to the secular environment of the home, dining and providing food.
Franz Ignaz Biber – Guardian Angel, companion of Man
Johann Sebastian Bach – Sonate BWV1001
Lars Bagger – Chorale (and other works)*
Oliver Waespi – Aureole*
Sadie Harrison – Bhavad Khair Baqi!
Jim Aitchison – Fugue Refractions-after Laocoon *
A group of recent pieces grouped around the last of Franz Ignaz Biber’s Rosary Sonatas. The baroque ‘sonata’ was explicitly linked to religious observance. Four living composers respond to Christian, Buddhist, Islamic and Ancient Greek themes. These range from the most painstaking consideration of an 18th century ‘prayer ring’, to music based on a mosque garden outside Kabul.
Giuseppe Tartini – Sonata ‘through tempest’s horror’
Dafina Zeqiri – Dream
Nigel Clarke – Voices in the Sand (Turfan)
Michael Hersch – in the Snowy Margins
Mihailo Trandafilovski – Fragments – Light* & In the Hills
Tom Myron – Merian Etude*
Ian Wilson – Cartographies
Shen Yi – Tajik Dance
The Istrian composer Giuseppe Tartini straddled the east and west. Best known as an Italian composer, he was born in modern day Slovenia; his music never lost the flavour of the Balkan meeting point. Living composers from the Balkans, Xinjiang, UK and US, face up to questions of travel and alienation.
Philip Glass – Strung out
David Gorton – Rosetta Caprices*
Jean Hasse – Collections Considered*
Paul Pellay – Evolving to…*
Paul Archbold – Gauge Symmetries
Howard Skempton – Tally* & Helix
The tally sticks in the Enlightenment gallery are a powerful symbol of our times, dominated by invoices and receipts. Alongside these, composers respond to the original translation programme, the Rosetta stone, to the idea of a modern collection of objects, and to the astounding modern notion of our place in the universe.
Dmitri Smirnov-Amore Sola 2006
Live Performance in the Enlightenment Gallery 2010
Dmitri Smirnov-Partita 1985
Peter Sheppard-Maurin Stradivarius 1714 (recorded 1995)
Peter has collaborated with Dmitri Smirnov since 1994. This has resulted in a number of premieres and recordings. Initially, the work forcused on Smirnov’s earlier works-Partita and Two Fugues. Since then Smirnov has written Peter a number of works. The most recent of this, Amore Sola, was premiered in 2006 as part of Peter’s residency in the Enlightenment Gallery of the British Musem. In May 2009, Peter premiered another early work, Smirnov’s Sarabande at Wilton’s Music Hall. This work is written for violin and harpsichord, and in this concert, Peter was joined by the brilliant Julian Perkins, showcasing Smirnov’s music alongside the work of Tartini and Pugnani. This premiere was given on baroque instruments.
Peter Sheppard Skaerved-ViolinLars Bagger-‘Julen har bragt velsignet bud’
St Mary Aldbury Church. Violin PSS. Engineer Jonathan Haskell-Astounding Sounds 6/6/10
There is music that hovers on the edge of creation, at the place where sound, where movement, where words fail. Its beauty often resides in discomfort, in forgetting, in disappearance, in lightness, in fragility, perhaps in not quite being there at all.
I met Lars Bagger at the Carl Nielsen Conservatorium 6 years ago. He took part in the workshops that we were running there. More importantly, for me anyway, he immediately confronted my comfort zone.