Stravinsky's Mass

The second concert in our innovative, informal series, CLoSer, will focus on the human voice with a performance by CLS and the Holst Singers of Stravinsky's Mass.

Stravinsky began work on his Mass in 1944, completing the Kyrie and Gloria towards the end of that year. Pausing to work on other projects, he returned to the Mass in 1947, finally completing all the movements in 1948. He rarely wrote non-commissioned music, so is believed by his friend Robert Craft (the American conductor and writer) to have written his Mass out of ‘spiritual necessity.’

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Although he was devoted to the religious content, Stravinsky chose to write a Roman Catholic mass, despite being a member of the Russian Orthodox Church.  His reasons for doing this were practical ones: he was committed to creating a Mass that would be performed in liturgical circumstances, and, given that he disliked the sound of unaccompanied singing, couldn’t write for the Russian Orthodox Church, which forbids any music but the human voice and bells. The Roman Catholic Church permits instrumentation on religious occasions so provided the right vehicle for Stravinsky’s small wind ensemble and four-part choir.

Despite Stravinsky’s desire that the Mass be used liturgically, it has almost always been performed in concert since its first performance at La Scala in Milan in 1948. It remains, however, deeply committed to the affirmation of faith. Although he denied that he was influenced by any particular composer or composition, Stravinsky uses a chanting style of singing that is reminiscent of monastic chant, a style that, despite his tendency to put musical stresses on unstressed words, preserves the text of the mass and connects his work to older Christian musics.

His commitment to the spiritual content is, appropriately, particularly apparent in the Credo, about which Stravinsky is quoted by Robert Craft as saying “One composes a march to facilitate marching men, so with my Credo I hope to provide an aid to the text. The Credo is the longest movement. There is much to believe.” 

 Listen to Stravinsky’s Mass on our Spotify playlist

 

CLoSer: Spirit of the Voice
Wednesday 29 Feb, 7.30pm
Village Underground

Flashback: L’Chaim

In this edition of Flashback, we look to 1998 and the launch of our L’Chaim, Living Music project, which is still going strong and celebrating ‘living music’ today.

 

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"In tandem with the commencement of Music for Children at Great Ormond Street Hospital, the Education and Community Programme also launched L’Chaim, Living Music. This is an informal concert project at the Otto Schiff Housing Association (OSHA) for Jewish refugees of Nazi persecution. Most OSHA residents are of German or Austrian origin, and their combined rich cultural heritage and love of music has been the defining factor in helping to shape the project.

 

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"Based at seven different homes and sites throughout North London, L’Chaim, Living Music will provide a three-year rotating programme of classical, Jewish, folk, religious and coffee house music... Whilst physical frailty may now prevent some of the residents attending concerts elsewhere in London, this has not hindered their support and enthusiasm for this project, and they have been integral to the planning process, programming and structure from the outset.

 

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"A long list of composers and musical interests was drawn up by the residents, many of whom are musicians themselves. After this initial meeting, it was clear that musical interests veered strongly towards the German classical tradition, but that many OSHA residents also enjoy folk, religious, light classical and jazz music. With these interests in mind, the programme for the year was drawn up...

"Soon after this, a trio of musicians were booked for the first three visits to OSHA (Erika Klemperer, violin, Danny Lyness, viola, Jo Cole, cello) and...they devised the first concert programme (including complete works by Beethoven, Kodaly and Schubert.) The first visits were a great success, reaching over 70 residents and staff and instant feedback from the residents was overwhelmingly positive."


Extract from CLScapades newsletter 1998

Conquering the Antarctic - The People : Edward Wilson

 

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Our Conquering the Antarctic tour celebrates the achievements of Captain Scott, the most well-known of the five-man party that reached the South Pole a hundred years ago in 1912. As the inspirational leader of the team, his personal qualities, courage and charisma were reflected in his journals and letters, which provide a moving picture of the expedition that endures today.

But what of the other four men Scott selected to accompany him to the Pole? They were Wilson, Bowers, Evans and Oates. Over the next four days, we profile the other members of Scott’s team, beginning today with Dr Edward Wilson.

 


Edward Wilson

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Born in Cheltenham in 1872, Edward Wilson was an artist and naturalist, who first joined Captain Scott aboard the Discovery as Assistant Surgeon and Vertebrate Zoologist to the British National Antarctic Expedition (1901-1904). In 1910 he returned to the Antarctic with Scott aboard the Terra Nova as Chief of the Scientific Staff. He was devoted to the study of Antarctic specimens and highly skilled at watercolour painting, particularly at capturing the colours, wildlife and light of the Antarctic.

‘Uncle Bill,’ as Wilson became known to the other explorers, was friendly and affectionate, and succeeded in mastering his temper thanks to a strong Christian faith. Scott selected him for the trek to the South Pole, which delighted him, and he continued his pursuit of scientific discovery even after the pole was reached, stopping with the rest of the team to collect 16kg of geological specimens.

Wilson’s is the last letter thought to have been written by any member of the polar party. Dated March 1912, the letter, written to his friend Reginald Smith, refers to his unfinished book about disease in grouse, his only regret at the time of his death. "We shall make a forlorn effort to reach the next depot but it means 22 miles and we are none of us fit to face it. I want to say how I have valued your friendship … I have no fear of death, only sorrow for my wife and for my dear people. Otherwise all is well. I should like to have seen the grouse book but it is not allowed to me. God's will be done." 

It is believed that Wilson died alongside Bowers and Scott in late March 1912. The three bodies were found in their tent by a rescue party the following November.

 

 

Conquering the Antarctic - the Scott Centenary Concert Tour

 A celebration in music, words and images

Stephen Layton, conductor
Robert Murray, tenor
Hugh Bonneville, narrator

3-8 February and 3 March 2012

 

Conquering the Antarctic - The Place

Ahead of our Conquering the Antarctic concert tour, starting next month, we're immersing ourselves in all things Antarctic. Here are some interesting facts about the most mysterious and fascinating of continents...

 

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  • The Antarctic is the world’s highest, driest, coldest and windiest continent (as well as the last to be discovered).
  • Ancient Greek geographers were the first to guess there was a large landmass around the South Pole. They named it Anti-Arkitkos (‘the opposite of the Arctic’).
  • Wind speeds of up to 351km (218 miles) per hour have been recorded.
  • In 1983, the coldest temperature ever was recorded at a freezing -89.2 degrees Celsius (-128.56 degrees Fahrenheit).
  • The distance between the UK and Antarctica is 11,000 miles (17702.784 km).
  • Ice in the middle of the continent can be up to 2500m (2 miles) thick.
  • Antarctica is more than 58 times bigger than Great Britain.
  • The pole moves with the ice at the rate of ten metres per year – each summer it has to be put back to its rightful geographical place.
  • Antarctic ice sheets store 70% of the world’s fresh water.
  • In Antarctica’s Dry Valleys, less than 6cm (2.4 in) of snow falls in a whole year.
  • Although there are no trees, more than 100 million birds nest and breed on the Antarctic.
  • Today, around 1,200 people spend the winter on Antarctica – about a third are scientists and the rest are support staff.
  • On average, ice sheets are nearly 2.5km (1.5 miles) thick – that’s the same as ten Canary Wharf towers on top of each other.
  • Thanks to high levels of oxygen in the water, sea spiders grow up to 30cm (12 in) across!

Conquering the Antarctic - the Scott Centenary Concert Tour

A celebration in music, words and images

Stephen Layton, conductor
Robert Murray, tenor
Hugh Bonneville, narrator

3-8 February and 3 March 2012

Festive Playlist

With Christmas approaching, our thoughts have turned to festive music! We know how much you love our playlists, so we’ve put together a good mix of our favourite seasonal tunes from all across the genres. Guaranteed to put you in a festive mood!

Is there any essential listening we’ve missed?

Listen to the Spotify playlist here


Angels We Have Heard on High - traditional 

White Christmas - Bing Crosby 

In the Bleak Midwinter - Darke 

The Christmas Song - Nat King Cole

Away in a Manger - traditional 

Let it Snow! - Sammy Cahn and Jule Styne 

O Holy Night - Adam 

It’s Beginning to Look a Lot Like Christmas  - Bing Crosby 

A Hymn to the Virgin - Britten 

Once in Royal David’s City - traditional 

Christmas (Baby Please Come Home) - Darlene Love 

The Holly and the Ivy - traditional 

Fairytale of New York - The Pogues 

Walking in the Air - Howard Blake 

Hanukkah, O Hanukkah - Barenaked Ladies

Coventry Carol - traditional

Baby it’s Cold Outside - Frank Loesser

Ceremony of Carols: This Little Babe - Britten

Christmas Time - The Darkness

Silent Night - traditional

Fantasia on Christmas Carols - Vaughan Williams

Ding Dong Merrily On High - Radcliffe Woodward

Only One More Sleep - The Muppets

 

HAPPY CHRISTMAS FROM ALL AT CITY OF LONDON SINFONIA

Who was Captain Scott?

We asked our newest Marketing recruit, Alice, to help us discover who Captain Scott really was ahead of our Conquering the Antarctic concert tour in February.

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Now remembered as a ‘race to the Pole,’ the tale of Captain Scott’s ill-fated expedition to the Antarctic from 1910-1912 has acquired the dimensions of a myth. But we are able to discover a good deal about what really happened on the expedition from Scott’s diaries, which give a vivid and moving depiction of the challenges the hard-working team faced.

Who was this man, whose personal qualities were so central to the expedition, and whose diaries, discovered by a rescue mission three months after his death, continue to provide a moving and emotive demonstration of his resolve and dignity in such unthinkable circumstances? What drove him to undertake this monumental challenge?

Born in 1868, Robert Falcon Scott joined a Royal Navy training ship at the age of thirteen. From 1900 to 1904, he commanded a British trip to the Antarctic, and from 1907-1909, Scott’s erstwhile companion Shackleton led a further British Antarctic Expedition to the Antarctic, locating the South Pole high on the ice plateau. Scott planned to finish what Shackleton had begun, and a further privately-funded expedition was raised which led to the purchase of the expedition ship, the Terra Nova, for £12,500.

Although he declared that the "main object of the expedition is to reach the South Pole and secure for the British Empire the honour of that achievement," Scott also had geological, biological and meteorological goals. The British team faced competition from the Norwegian explorer Roald Amundsen, who had abandoned earlier attempts to reach the North Pole in favour of being the first to get to the South. Despite this element of competition, Scott’s diaries reveal that he refused to abandon the pursuit of science, however difficult and unrelenting the freezing conditions.

When they reached the Pole in January 1912, the malnourished and frostbitten explorers found that the Norwegian team had got there first. Some believe that tragedy would have been prevented if the British team had ‘won’—they would have been in better spirits. As it was, they all met their deaths soon after. As Scott wrote in his journal, “These rough notes and our dead bodies must tell the tale.”


To read the full version of this blog post, visit our website
Image courtesy of SPRI, University of Cambridge


Conquering the Antarctic
2-8 Feb & 3 March 2012
Birmingham, Cambridge, Cardiff, Cheltenham, London

CLoSer in words and pictures

Our first CLoSer concert at Village Underground on the 22nd November was a huge success with a packed audience enjoying the venue, music and fantastic musicianship on show. We thought we'd share with you some of the best photos from the night and what the audience had to say:

 "The first CLoSer programme was like a substantial sandwich: hot crusty wholemeal bread on the outside with something sweeter in the middle." 

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"Great performance - loved the informal setting and the mixed audience!" 

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 "The orchestra played on all my emotional strings." 

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"I loved the sense of excitement, the bar, the lighting, the chatter and the informal approach of the musicians and conductor. Acoustics were great too."

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 "Give us more!!"

The next concert in the series focuses on vocal music by Bach, Poulenc and Stravinsky with Guest Artists the Holst Singers and our Principal Conductor Stephen Layton.

CloSer
Wednesday 29th February, 7.30pm,
Village Underground,
EC2A

Tickets: £15 (includes a free drink)
Box office: 020 7377 1362/spitalfieldsmusic.org.uk

Images: Clare Parker

The Big Give Christmas Challenge

Earlier this month, pupils from three primary schools in Tower Hamlets took part in a very magical project with our musicians and workshop leader Claire Bloor. October and November were full of magic for the Education team with our Lullaby series followed by our sell-out Crash Bang Wallop! concert at Cadogan Hall and we were so pleased that alongside these projects, we were able to develop a bespoke project for 150 Year 1 and 2 pupils from across Tower Hamlets; the starting point of a new and exciting programme of work in the Borough.

In the spring we met with THAMES, the Tower Hamlets Arts and Music Education Service to explore possibilities of developing work together. THAMES works with schools across Tower Hamlets, providing instrumental music teachers and running ensembles but also have a very strong history of exciting, effective partnerships. They work with a wide range of professional partners and we are proud to be one of them!

The concert was wonderful, something the children would never have been able to experience without you.
Teacher, Thomas Buxton Primary School

Our first project in October saw a special schools performance of our Magic themed show which included arrangements of works such as Dukas Sorcerer’s Apprentice and Mozart’s Overture to The Magic Flute. Around this, we ran a series of workshops with four classes, introducing children to the repertoire and instruments of the Orchestra. Alongside workshop leader, Claire Bloor, the children also wrote their own lyrics to a song about a magical owl which was performed with the Orchestra at the concert. 

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Image: Paul Coghlin

This pilot project has exceeded our expectations and we now plan to visit eight more primary schools in Tower Hamlets, with a series of bespoke schools concerts and workshops, introducing a further 300 children and their teachers to the Orchestra.  In order to make this important work happen we are taking part in the Big Give Christmas Challenge (5-9 December), through which we need to raise £25,000 in order to enable this transformational work to happen. 

Visit our Big Give page to find out more and how to get involved.

Big Give Christmas Challenge
5 - 9 Dec 2011     

Concert Focus: John Adams & Shaker Loops

Find out about the music behind the concert, with our quick guide to John Adams' Shaker Loops, to be performed at our first CLoSer concert on Tuesday 22 November. 

Shaker Loops
Written in 1978 by American composer John Adams, hailed as one of the great composers of minimalist music, Shaker Loops is one of his most popular and performed compositions.

Formed of four movements:

I. Shaking and Trembling
II. Hymning Slews
III. Loops and Verses
IV. A Final Shaking

Adams says of the piece "the four sections, although they meld together evenly, are really quite distinct, each being characterized by a particular style of string playing. The outside movements are devoted to ’shaking,’ the fast, tightly rhythmicised motion of the bow across the strings.

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image: Margaretta Mitchell

Part II is deliberately slower and languid followed by the melodic third movement, with "the celli playing long, lyrical lines (which are nevertheless loops themselves) against a background of muted violins, an activity which gradually takes speed and mass until it culminates in the wild push-pull section that is the emotional high of the piece.” 

The piece takes its name from both the distinctive 'shaking' of the strings as they oscillate between notes, and the image Adams’ had of ‘Shakers’ (members of the Millennial Church), dancing and worshipping to repetitive, energetic music.

John Adams occupies a unique position in American music, with his works renowned for their depth of expression, brilliance of sound and the profoundly humanist nature of their themes. His operatic works include Doctor Atomic and The Death of Klinghoffer and his composition On the Transmigration of Souls written for the New York Philharmonic to mark the first anniversary of the World Trade Centre attack, won three Grammys and the Pulitzer Prize for Music in 2003.

He has said of London audiences "they are my ideal listeners - sophisticated, musically literate, enthusiastic and of course a little bit insane!"

Listen to our Spotify playlist for a preview of Shaker Loops.

CLoSer
Tuesday 22 November, 7.30pm
Village Underground, EC2A

Tickets: £15 (includes a free drink)
Box office: 020 7377 1362/spitalfieldsmusic.org.uk

Flashback - Music for Children 1998

For this installment of Flashback, we're looking back to the beginning of Music for Children, which began in 1998 as part of our Education and Community Programme. This project was launched at Great Ormond Street Hospital for sick children in September 1998 with three CLS musicians (Jo Cole 'cello; Duke Dobing flute; Nick Ward violin). An initial 'Pilot Day' enabled the musicians to familiarise themselves with the hospital, staff, patients and different wards.

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The CLS team then visited the Hospital School with creative work based on Italy, the in-school topic for the term. The Venice Carnival was re-created over two mornings of music-making workshops, as well as pizza-making and other fun activities. The afternoons were shared between visits to the Mildred Creek Psychiatric Unit and the Dialysis Ward, with several new pieces of music being created and performed.

Following these successful project days a three-year partnership with the Hospital, which is now in its thirteenth year! Nadezna Wilkins, the Hospital School's Music Co-ordinator, was extremely enthusiastic: "The musicians are extremely friendly with the staff and young people both in the school and on the wards. They display excellent skills when teaching children of all ages and abilities."

CLS are delighted to announce that we have recently received a generous grant from the City of London Corporation's City Bridge Trust for £85,700 over three years in order to expand our hospital work to Guy's and St Thomas' hospitals next year.