Tod Browning’s Dracula is one of the greatest adaptations of Bram Stoker’s chilling tale of the infamous Count Dracula. Played by Bela Lugosi, arguably cinema’s best Dracula, the warmth of his Hungarian accent and the piercing ability of his gaze set the film’s tone. So the film begins! As the screen comes to life with the title sequence, so does the ensemble with the greatest coordination, bringing life to the undead. The score rises and floats over the audience, setting the tone of the film beautifully. The original score by Philip Glass is instantly recognisable as his own, full of closely knit arpeggios, repetitive figures and wonderful harmony. The score manages to capture the haunting eeriness of Dracula whilst also adding melancholy and humanity to the character, who is in search of a new wife in a foreign land before ultimately meeting his inevitable end.

The ensemble consists of Michael Riesman, a longtime collaborator of Glass’ as Music Director of the Philip Glass Ensemble, acting as conductor and also playing the keyboard; the strings – the legendary Kronos Quartet, with whom Glass has performed with on numerous occasions; and finally, playing additional keyboards is the man himself, Philip Glass. It is blatantly obvious that the ensemble members are veterans when it comes to playing contemporary music, as they played with the expression and integrity a score such as this deserves and needs in order to receive a truly successful performance. Meticulously timed, the score is one with the film, building tension and allowing relief. The audience is at the disposal of the score and composer as we are audibly and visually taken on a journey through this classic tale of eternal love and terror.

The 3-day showcase, featuring world premiere performances of new commissions as well as performances of existing work by established and aspiring composers, begins on Sunday 10th June 2012 at 1.00pm in the Contemporary Art Gallery at the National Museum Wales with an exhibition of contemporary music and art installations. The festival’s opening event will feature new contemporary music commissions by young, up and coming composers, drawing inspiration from Wales’ world-class art collection, including contemporary art pieces by Welsh painter and artist Ernest Zobole and Welsh artist and sculptor Laura Ford.

“Sinfonia Newydd is extremely proud to continue this unique relationship with the National Museum Wales as part of SN2012,” says Sinfonia Newydd founder and director Toks Dada. “The festival also marks a huge development in Sinfonia Newydd’s artistic programming because not only will we, for the first time, be producing performances by professional contemporary composers to compliment the huge wealth of new work by young composers, but the festival events will also for the first time focus around particular themes or concepts.”

On Tuesday 12th June at 6.30pm, Welsh composer William Mathias becomes the focal point in the first of a series of themed recitals hosted in the spacious Foyer of the Royal Welsh College of Music & Drama. Welsh harpist Llywelyn Ifan Jones will perform Mathias’ popular work, Santa Fe Suite for solo harp which was incidentally commissioned by the Royal Welsh College of Music & Drama’s Head of Harp Caryl Thomas. The 30-minute recital, also containing performances of works by young Welsh composers Daniel Wyn Jones and Benjamin Vaughan, will act as the pre-concert performance to a concert of contemporary music being given later that evening by Britten Sinfonia in the Dora Stoutzker Hall.

The third and final day of the festival takes place on Friday 15th June 2012 at the Royal Welsh College of Music & Drama and will include two chamber music events at 12.30pm and 7.00pm in celebration of the 75th birthday of american composer Philip Glass, featuring a combination of existing Philip Glass music and new works for strings, piano and percussion, acting as pre-concert foyer performances to the 1.15pm and 7.30pm concerts in the Dora Stoutzker Hall. At 1.15pm, a lunchtime recital of exciting and virtuosic music will showcase some of Sinfonia Newydd’s most talented contemporary music performers including guitarist Will Browne of the Live Music NOW young artist scheme and Royal Welsh College of Music & Drama Masters Opera countertenor Joe Bolger.

The festival will close with a 7.30pm concert from the 60-piece Sinfonia Newydd Ensemble in the Dora Stoutzker Hall featuring the Philip Glass Violin Concerto No. 1 with Colin Scobie (violinist of the world-renowned Fitzwilliam String Quartet) as soloist and Philip Glass’ popular work, Company for string orchestra. The closing evening concert will also include world premiere performances of new works by student composers studying at the Royal Welsh College of Music & Drama, Cardiff University School of Music and the University of Bristol.

Tickets for festival events range from free admission to £7 and can be obtained from the Royal Welsh College of Music & Drama box office, open Monday to Friday from 10am – 5pm (or till 8pm on the evening of an SN2012 performance). Tickets can be purchased over the phone on 02920 391 391, via email at boxoffice@rwcmd.ac.uk or in person from the box office.

For a complete list of festival events please visit the SN2012 homepage.

The exhibition will run until 4th August, so even if you can’t make it to the opening you will have plenty of opportunity to see the delightful works of these Cardiff based artists!

The concert began with a series of solos and duets, opening with Emily Maidment’s Shadowcase. In the two contrasting movements, the duetting violinists showed great communication, creating a warmth and fullness that often felt like more than two violins. As a violinist herself, Maidment was able to express her vision – one violin being chased by its shadow – whilst at the same time writing idiomatically for the instrument. Joseph Hillyard’s 15 Puzzle for flute and piano took inspiration from the childhood game to give it a mosaic form, where a single theme tied together seemingly disparate, ‘schizophrenic’ sections. The instrumentalists were stretched to many different styles and changes of tempi across these sections which were handled seamlessly in a piece full of exciting twists and turns. The atmosphere in the hall changed dramatically when Matthew Green expertly performed PhD student Andrew Taylor’s Eternalism for solo piano. Taylor used the philosophical concept of eternalism to juxtapose different motives and tessituras spaciously. Study No. 2 from James Deeny’s Three Studies for Violin and Piano experimented with the different timbres and effects possible from the different interactions between the two instruments. The piano and violin held together in a tight exchange scattered with challenging ostinati in the piano part. Threnody saw Julia Howell performing her own piece for solo viola, where her expertise of the instrument was clear. In this deeply moving ‘wailing ode’ about the unanswered questions left when somebody dies, Howell managed to give great expression whilst showcasing the range and versatility of the often overlooked instrument.

Similarly to Shadowcase and Threnody, Holly Clacey’s Perception for brass quintet was a labour of love for the composer’s chosen instrument, or in this case, family of instruments. The ‘perceptions’ Clacey spoke of are those of what brass can do. Expectations were tested in the first movement where the use of mutes and unusual timbres showed a different side to brass. The second movement then utilised the brass in loud, contrapuntal, rhythmic glory, in more of the manner the audience would expect to hear a brass quintet. Daniel Wyn Jones‘ Messages from the Dead closed the first half of the concert with a bang, quite literally, with a heavy metal vocalist and percussionist playing a beer keg with a baseball bat alongside three clarinettists. Jones, a regular Sinfonia Newydd composer, composed three movements based on the suicide notes of Vincent Van Gogh, Dona Jenny Wiles (the composer’s friend, a survivor of an attempted suicide) and Hunter S. Thompson, representing the differing emotions accompanying suicide. The first movement used three clarinets in close, dissonant harmony to convey Van Gogh’s deep sadness. The second movement conveyed the apology of someone unable to cope through a combination of a bass soloist and the whispers of a heavy metal vocalist. The third movement was the most dramatic, setting Thompson’s suicide note to an appropriately angry combination of screaming heavy metal vocalist, dissonant clarinets and sharp percussion, with the interesting timbre of the beer keg beaten with a baseball bat. The movement built to a fierce climax that concluded the first half of the concert on an exciting note.

Martin Humphries’ Bucket of Love began the second half in a similarly innovative manner, using the exciting new sound of a distorted amplified French horn manipulated with electronics. The soundworld, created by the use of looping, reverb, echo and distortion, effectively depicted the image of a chasm, a barren wasteland and a destroyer of men, however such extensive use of amplification often comes with an added side-effect. Volume. The sheer amount used was at times quite uncomfortable for several audience members causing them to cover their ears in protection. All that being said, issues such as this often only become clear after the premiere performance and are easily fixed for future performances. Tristan Watson’s Three Sketches for chamber ensemble, conducted by the composer, followed the dark dramaticism of Bucket of Love with three exciting movements inspired by Webern’s Six Pieces for orchestra. Watson, a Cardiff University graduate clarinettist, displayed his knowledge of the woodwind family in beautiful clarinet solos and was able to present three contrasting but connected movements where the ensemble of clarinets, tenor saxophone, piano, percussion, cello and double bass communicated rhythmically and complemented each other. David Roche’s Globe, also conducted by the composer, for flutes, horn, trombones, percussion and violins provided a glimpse into a larger work of the composer’s: Another Atlas. Globe, however, stood its ground as a piece of its own and was a successful scaling down of the original but still having strong thematic links and the sense of connection that Roche hoped to convey. The scaling down was only apparent when the piece ended suddenly, leaving the audience expecting and wanting more.

Ethan Davies’ Nebulous was a refreshingly calm and atmospheric use of larger ensemble in the second half. With an ensemble of flute, clarinet, horn, harp, celeste, percussion, vibraphone, violin, violas and cello Davies was able to create a wall of incredibly warm sound that was not overly dissonant and brought a reflective and calm approach to ensemble writing. The second of two vocal pieces of the night, David Cheetham’s If I Should Die, set the Emily Dickinson poem for soprano voice accompanied by woodwind, horn, piano, percussion, vibraphone, violin, viola and cello. In one of the larger ensembles of the night, Cheetham, a regular Sinfonia Newydd composer, wrote interesting and imaginative parts for each instrument, particularly in the woodwind solos and duets, whilst keeping the ensemble unified and not overpowering the singer. Robert Fokkens conducted the ensemble fantastically, and Sophie Wilson’s beautiful voice held its own, whether singing, speaking or shouting, against the ensemble in a piece that evoked the many contrasting emotions of the poem. The last piece of the night was by Jonathan Haworth, another regular Sinfonia Newydd composer. Rainbows Apologise for Angry Skies, for large woodwind section, horns, trumpet, trombone and percussion used the title quote by Sylvia Voirol to represent a beautiful, calm landscape ravaged by a storm, but ultimately quelled by a ‘crystal clear’ rainbow. The bass drum in this piece provided the sounds of thunder whilst also adding something of a heartbeat that unified the destructive and calm sounds into a cohesive and thought-provoking whole filled with interesting instrumental timbres.

This year’s Student Showcase was a triumph not only for the composers and performers, but for those organising, particularly Dr Robert Fokkens who was rightfully thanked by Daniel Wyn Jones at the concert’s conclusion. Bringing together such varied works and styles in an organised and cohesive manner made the concert all the more enjoyable and successfully showcased the School’s talent.

 
Thursday 10th May 2012, 7.30pm Dora Stoutzker Hall, RWCMD
Songs of Darkness and Light by Matthew Clark and Timothy Wilson

Friday 11th May 2012 Richard Burton Theatre, RWCMD
6pm: Tinnitus by James Flight
8pm: A Wooden Heart by Benjamin Frank Vaughan

 
Tickets for each event are available to purchase from the RWCMD Box Office on 02920 391391, or at www.rwcmd.ac.uk. Discounts are available for concessions and those wishing to book for multiple events.

Even the most reclusive of people will recognise these words as the famous catchphrase which has graced the Toys ‘R’ Us television commercial for decades. The infamous UK version of the commercial’s theme is often perceived by many as colloquial, unsophisticated and anything but of a serious nature. However, a recent collaboration between Sinfonia Newydd composer-in-residence David Harrington and the ensemble’s assistant principal violinist Jake Everitt-Crockford attempts to turn this theory on its head.

The collaboration, in the form of a new work untitled Reverse Theme and Variations for violin and piano on a theme of TRU, came about after a series of talks between the two which resulted in Harrington composing the work back in January 2012, making it the first piece of its kind to blend conventional concert music with popular media. As well as its obvious entertaining nature, the 9 minute work exists in 2 versions; the first with a surprise finale element and the second without. The former of which is being used for the world premiere performance which takes place at 7.30pm on Tuesday 20th March 2012 (tomorrow evening) as part of a Contemporary Music Concert being staged by composition students at the Royal Welsh College of Music and Drama.

Jake Everitt-Crockford says of the collaboration: “It has been an exciting venture to collaborate with David; we were after something both challenging and substantial to ‘spice up’ my recital programme, and I think we definitely achieved this!”

The violinist went on to talk about the great lengths himself and the composer went to in the name of research. “We were keen to find out the backstory with regards to the advert’s creation, so we visited one of the ‘Toys ‘R’ us’ branches, made some enquiries but were advised by a customer service representative that the venture was a bad idea and she couldn’t help us.”

Everitt-Crockford resorted to emailing both the UK and USA Toys ‘R’ us head offices asking for their copyright policy and details of the original composer and performers. After conversations via email, the violinist was once again declined help. However, the pair were undetermined and embarked on the collaboration regardless.

Harrington has been Sinfonia Newydd‘s composer-in-residence since its founding, with Everitt-Crockford joining the team in November 2010.

Everitt-Crockford (an undergraduate at the RWCMD) will also perform the alternative version of the work (minus the surprise finale element) as part of his end of year 2 performance recital during May 2012.

Come and support David Harrington, Jake Everitt-Crockford and a whole host of other Royal Welsh College of Music and Drama composers and performers in their self-staged Contemporary Music Concert taking place at 7.30pm on Tuesday 20th March 2012 (tomorrow evening) in the Weston Gallery, RWCMD!

For me, Complicated contains all the emotions I associate with beginning a new school; its identity has come to encompass far more than just the music, rooting itself deep within memories of a time and a place. No wonder I am not particularly fond of the song.

The personal circumstances in which we experience music, shapes its identity. A huge part of our emotional interaction with a piece of music depends on the extramusical meaning we have given it. For one person, a piece of music will recall a wedding, exam success or a job promotion. For another, it may instead bring back memories of a funeral, a failed exam or redundancy. Part of the beauty of music is its ability to vividly evoke the emotions associated with such memories.

Admittedly, when we listen to recorded music, we are compromising on that immediacy and fragility that is unique to a live performance. At concerts, however, we might also lose something valuable. By segregating the music from any other aspect of our lives, we are denying it part of its power. We attend the concert, hear the music and leave. Regrettably, it can sometimes be difficult for a new piece of music to form a strong identity in our minds, as the only memory to which we can anchor it is enclosed within the walls of the concert hall.

On November 6th 2011, Sinfonia Newydd tackled this long running dilemma in an unprecedented, inventive way.

The concert, An Exhibition, took place in the brand new Contemporary Art Galleries at the National Museum Wales. Instead of being seated in front of a single performance area, the audience were invited to move around the galleries to hear each work being performed in front of the art piece that had inspired it. The combination of music and visual art added a huge level of depth to the concert as it encouraged listeners to draw their own links between what they saw and what they heard, engaging their individual and personal perspectives. Also, the movement between rooms emphasised some fascinating differences in atmosphere and ambience, strengthening the works’ separate and unique identities. When I think back to each composition from An Exhibition, I first picture the piece of art that inspired it, the room I was in and where in the room I was standing; the music follows with heightened clarity and vividness.

The concert opened with my own composition, The Sea’s Edge for three glass bowls and a digital loop pedal (inspired by Arthur Giardelli’s art piece of the same name). Exploring the possibilities of an electronic soundworld and experimenting with pitch and delay manipulation was a challenging and rewarding experience for me. Following The Sea’s Edge, the audience moved through into the next room of the gallery and gathered round a painting by Ernest Zobole entitled Some Trees and Snow. This desolate, simple painting inspired Trees and Snow for oboe, piano and string quartet, my second composition to feature in the concert. It was a wonderful experience to hear my music being brought to life with such passion and precision.

The third piece was People and Ystrad Rhondda by Jonathan Haworth, based on Zobole’s painting of the same name. The composer drew upon universal themes, such as the irrevocability of childhood and the destructive power of nostalgia, in his interpretation of the painting. He strikingly conveyed these themes through haunting harmonies and unsettling, fragmentary juxtapositions of contrasting sections.

The next room, being much larger, produced a much more resonant, spacious sound that was perfect for the two solo pieces which followed People and Ystrad Rhondda. Both inspired by the same painting, Benjamin Vaughan‘s Sorrow Upon Eventide for solo violin and David Harrington‘s Black October for solo oboe offered individual interpretations of James Rielly’s Partially Buried. Vaughan’s violin melodies and open harmonies soared and reverberated around the room, evoking the simple sadness of the painting’s subject matter, while Harrington crafted a more sinister atmosphere, combining the chromatic oboe motifs and the resonance of the room to create dark, discordant harmonic shapes.

Lambs That Learn To Walk In Snow for baritone and string quartet, also by Harrington, followed. When I had visited this gallery several weeks before in order to choose which art pieces to use as inspiration, Black Cot and Latex Glove by Shani Rhys-James had made one of the strongest impressions on me because of its deeply sinister undertones. Harrington‘s piece perfectly evoked the painting’s unsettling combination of innocence and darkness, alternating between beautiful diatonic clarity and complex, impassioned chromaticism.

ReSung by Benjamin Vaughan triumphantly concluded the event. ReSung was inspired by Welsh contemporary art as a whole. Vaughan weaved together a plethora of Welsh folk songs, breathing new vitality and beauty into them in the same way that his namesake (of sorts!) did for English folk songs just over a hundred years ago. With its retrospective, all encompassing feel, ReSung was a heartwarming and rousing close to a truly memorable occasion.

I asserted at the beginning of this report that music makes a far stronger impression on our memories when we encounter it in a variety of contexts. An Exhibition brought this idea into the concert hall dynamically and successfully. The movement through the galleries and the diversity of the artwork really allowed the audience to assess each composition as a completely separate entity, emulating the way we encounter and identify music in our daily lives.

An Exhibition has demonstrated Sinfonia Newydd’s passion for presenting new music in original, striking ways. I have a feeling that this is just the beginning, however, and that future events will continue to energise and intensify the way we encounter contemporary music, inspiring a new generation of composers and concert-goers in Wales.

The online jazz promotions strand has already begun to attract attention amongst Cardiff’s jazz scene with new Cardiff-based jazz night, Jazz Gallery being the first to sign to SN Jazz ahead of their launch on Sunday 4th March.

Sinfonia Newydd director says “The opening of SN Jazz marks a milestone in Sinfonia Newydd’s work within Wales’ contemporary music scene. I am extremely proud that Sinfonia Newydd is now broadening its reach of contemporary music performance and promotion whilst providing further opportunity to more of Wales’ young talent. Through SN Jazz, Sinfonia Newydd is truly showcasing the musical diversity that it prides itself upon.”

As well as promotional listings, the SN Jazz website will also feature news and articles on Cardiff’s contemporary jazz scene as well as special profiles on SN Jazz promoted events and the musicians involved, both on and behind the stage!

The first SN Jazz promoted jazz night, Jazz Gallery, launches on Sunday 4th March 2012.

Stay updated by following SN Jazz on Facebook and Twitter. Or for more information email info@snjazz.co.uk.