Concert and Workshop
The Society ensemble will perform a concert of various improvised jazz guitar standards. The workshop will aim to develop techniques for improvisation and raise awareness of the society's activities. We believe last year's workshop was very successful and will endeavor to produce something similar this time. We will be flexible in matching activities to the needs of the students.
Amanda Babington & David Milsom: violins, John Bryan: bass viol, Graham Cummings: chamber organ, harpsichord
Orpheus Britannicus IX: Purcell and Handel
To celebrate the 360th anniversary of the birth of Henry Purcell and the 250th anniversary of the death of George Frederic Handel, Four’s Company continues its series of concerts exploring the world of the trio sonata with works from Purcell's Sonatas in III Parts (1683) and Handel's Op. 2 and Op. 5 sets published respectively in 1733 and 1738.
Pete Coe – Vocals, Bouzouki, Melodeon & Banjo
Laura Smyth – Vocals, English Concertina & Cello
Brian Peters – Vocals, Concertina, Melodeon, Guitar & Fiddle
This performance is by three top folk musicians, telling the story of the 1819 ‘Peterloo Massacre’ in Manchester, through ballads composed at the time.
They accompany their songs with concertina, melodeon, bouzouki, guitar, fiddle, cello and banjo, as they trace the background from the Napoleonic Wars and the poverty of cotton weavers, to the Luddite uprising and the terrible events of August 16th, when mounted soldiers charged a peaceful crowd of pro-democracy demonstrators and killed or injured hundreds of people with their sabres. They also sing of the legacy of Peterloo, the Chartists and the struggle for fair votes.
Concert 1: 5.30-6.30pm a selection of early pieces by Morton Feldman
Concert 2: 8.00-9.30pm Triadic Memories
Launching the release of his new box set of recordings of the piano music of American experimentalist Morton Feldman, Philip Thomas performs two concerts: the first presents a selection of pieces mostly from the early 1950s; the second consists of a performance of one of Feldman’s late masterpieces, the 90-minute Triadic Memories.
Manasamitra, an artist-led company from West Yorkshire, invites music lovers to Lullaby – Sonic Cradle, a contemporary musical exploration of night time sounds interspersed with lullabies from India.
Inspired by the songs Indian women sing to their babies whilst working in the fields, Lullaby – Sonic Cradle has been created through a collaborative process involving local communities, professional musicians and technology.
Lullaby – Sonic Cradle combines live music - voice and instrument – with a technologically-driven soundscape linked to a visual display that ‘dances’ to the changing rhythms, pitches and volume of the performance.
Widely regarded as a leading interpreter of Robert Ashley’s music, having performed in the premieres of many of Ashley’s operas, as well as a wide range of American experimental music, Thomas Buckner presents a programme of late works by Ashley. For this performance he will be joined by pianist Philip Thomas and students from the University of Huddersfield. A perfect and rare opportunity for UK audiences to hear and get to know Ashley’s music.
Irine Røsnes and Dejana Sekulic (violins and electronics)
OHHe Supercluster are Dejana and Irine. Their common interests in exploring the possibilities of an eight-stringed instrument played by two bodies, engaging with the current, and making space for creating new violin duo repertoire, draw these two carbon-based entities to collide and commence on a journey as a 'twoette'.
OHHe Supercluster will take you diving with them through imaginative, dreamlike soundscapes of works including Dillon’s Traumwerk Book1, and Nono "Hay que Caminar" Soñando, intriguing with their intricacy, stillness and playfulness.
James Toll (violin), Jonathan Rees (cello and viola da gamba) and Steven Devine (harpsichord)
We are delighted to welcome back musicians from the OAE as part of the second year of our education partnership.
Philip Thomas performs Richard Emsley’s for piano 13, a work composed for him in 2003., and the longest (at 42 minutes) of a series of piano pieces Emsley worked on in the late 1990s/early 2000s. The twelve sections of the piece exploring differing perspectives on two types of material: bell-like ringing activity contrasting with lyrical music. At once expressive and fragile, Emsley’s music is evocative and distinct.