#Stevie Wishart

[dustedmagazine]

Various Artists — Creiriau Y Delyn Rawn / Relics of the Horsehair Harp (Amgen)

Imagining new music is nothing new. Individually or collectively, spontaneously or through painstaking craft, research, and development, legions of music-makers have tried to come up with something sufficiently novel out of sounds and (sometimes) words that it hooks listeners’ attention. You can be sure that someone’s at it right now. But you probably won’t lose the farm if you bet it on the notion that the sequential imagining that went into the conception and execution of Creiriau Y Delyn Rawn is an unprecedented process that has yielded a remarkable outcome.

The Welsh language title translates into English as Relics Of The Horsehair Harp. It was produced by harpist Rhodri Davies as a companion to Telyn Rawn, a solo album that he released on his Amgen label. Telyn Rawn is named after the instrument that it introduced, a horsehair harp that Davies commissioned to be made by a couple harp makers and a leatherworker. Harps have a particular cultural resonance in Wales, since despite the instrument’s popularity, the art of making them nearly died out before making a comeback as part of a larger resurgence of Welsh culture. The original telyn rawn was made from wood and equine byproducts. After the sturdier Italian triple harp made it to the British Isles in the 1600s, it replaced the telyn rawn so thoroughly that for a couple centuries the triple harp was actually known as the Welsh harp (it was replaced by the pedal harp in the 20th century) while its predecessor was practically forgotten. When Davies, whose wide-ranging music encompasses free improvisation, modern composition, Konono-inspired junkyard noise, and rock and roll, got curious about those early harps, no one knew how to make one. The instrument on Telyn Rawn was designed using descriptions in early Welsh poetry and a couple pages addressing harp-tuning practices in a 17th century manuscript by Robert ap Huw.

When Davies finally set about playing the thing, he did not revive antique repertoire; he improvised short pieces equally informed both by his research and his own practice of playing freely, alone and with musicians like John Butcher, Andrew Leslie Hooker and the trio IST. Intricately plucked or vigorously bowed, some of the album’s eighteen tracks hinted at folkloric models, while others undid dense knots of sound that burst with harmonics and radiated overtones. Telyn Rawn came out during that first COVID summer, which was bad for many things, but was not so bad for spending some of that time that one wasn’t gigging cooking up new ideas. After its release, Davies reached out to friends and associates with this request: “I asked each contributor to imagine that the musical material improvised in 2020 was an ancient musical form that had fully existed in the medieval period, and that each of their responses were to have happened centuries after the imagined formation of the Telyn Rawn pieces.”

Such a brief can be taken in many directions, depending on the respondent’s experiences, equipment, and willingness to dig a new network out of someone else’s wormhole. Sixteen participants gave a response to one or two specific tracks from Telyn Rawn. Laura Cannell’s  opening piece, “The Tattered Skies Above,”  wastes little effort on interpreting Davies’ “Penriwh.” Instead, she constructs a fanfare from overdubbed recorders whose jolting sonorities and processional air establishes a through line linking a span of fantasized centuries. Next up, Orphy Robinson makes like a free-bopping jazz man. On “Nude, Lewd, Rude, Mood Food” he transfers bits of Davies’ intricate “Gorchan Sali” to a salaciously bulbous-sounding marimba, accelerates the tempo and lets it rip. Jem Finer plays “Y Geseg Fedi” pretty faithfully, simply transposing bowed harp to hurdy-gurdy; guitarist C. Joynes is similarly respectful to “”Dygan tro’r Ebill.” Credited as playing computer and mouse, “C. Spencer Yeh” visits a cut-and-splice surgical strike upon Davies’ recording of “Afon “Dewi Fawr;” Pat Thomas might do something similar on the turbulent electronic eruption, “Maddad.”

Not only does Davies have a strong musical personality that transcends the particular harp he plays and the century his head’s in; he has picked his emissaries wisely. Despite the disparity of instrumentation and approach exhibited by the sixteen contributing musicians, Creiriau Y Delyn Rawn feels pretty cohesive as it carves out an imaginary timeline of musical evolution.

Bill Meyer

[tejedac]

Hildegard von Bingen (1098–1179)

Hildegard · play album

Sinfonye & Stevie Wishart Vivien Ellis, Jocelyn West, Victoria Couper, Emily Levy, Clemmie Franks, Emily Burn (vocals). Bill Taylor (medieval harp), Guy Sigsworth (bells).

* Lp info

[laurelhare]

pretending i was tagged by @burningflash to share five songs in my recent rotation 💋

[elmartillosinmetre]

"Damos una imagen teatral de las cantigas"

[El conjunto Aquel Trovar: Antonio Torralba, José Ignacio Fernández, Delia Agúndez y Daniel Sáez. / Aquel Trovar]

La soprano Delia Agúndez pone voz a las cantigas de amigo de Martín Códax en su cuarta grabación con el grupo Aquel Trovar

En el año 1914 el librero anticuario madrileño Pedro Vindel se llevó una sorpresa cuando revisaba las guardas de un viejo códice del siglo XIV que contenía un De Oficiis de Cicerón encuadernado en el XVIII. Lo que parecían siete poemas con música resultaron ser los primeros rastros de notación musical vinculados a unas cantigas de amigo, un género específico de la lírica medieval preservado gracias a varios manuscritos, en los que es posible leer centenares de ejemplos, pero sin música. Hasta que en 1990 se descubrieron otras siete cantigas con signos musicales en el llamado Pergamino Sharrer (las conocidas como cantigas de Dom Denis), el Vindel fue el único manuscrito que presentaba ese doble acceso (poético y musical) al género.

Desde el hallazgo, el pergamino Vindel hizo su propio camino, pasando de mano en mano hasta terminar en los años 70 en la Biblioteca Morgan de Nueva York, en cuyos fondos aún reposa. Con la reactivación del repertorio musical del medievo en la segunda mitad del siglo XX, fueron muchos los grupos que se interesaron por él, y las Cantigas de amigo que firmaba un tal Martín Códax (siete poemas, seis de ellos con pentagramas) encontraron un lugar en el repertorio. En algunos casos produciendo hitos tan extraordinarios como la grabación que el conjunto británico Sinfonye de Stevie Wishart hizo en 1987, apoyado en la voz de una cantante australiana vinculada principalmente al mundo del folk, Mara Kiek.

Hubo después otras grabaciones, completas o fragmentarias (“Ondas do mar de Vigo”, el primero de los poemas, se ha convertido casi en un bestseller del medievo), hasta esta que acaba de presentar el conjunto cordobés Aquel Trovar con la voz que acompaña al grupo desde su fundación, la de la soprano extremeña Delia Agúndez. “Es mi cuarto disco con ellos, aunque con Cinco Siglos [el conjunto a partir del cual se formó Aquel Trovar] habíamos hecho ya un par de ellos”. Para Agúndez es un CD especial ya que “es la primera vez que además de cantar toco instrumentos, el carillón de campanas y el pandero de olas. Es algo que tiene que ver con la concepción que hemos desarrollado del ciclo. Damos una imagen teatral de las cantigas. Y dentro de esa atmósfera hemos querido introducir el mar a partir del pandero de olas como un recurso escenográfico: me voy acercando al escenario para llevar el sonido del mar al público”.

Para la cantante cacereña esta concepción teatral se desprende del sentido unitario del ciclo: “En realidad es un ciclo de canciones, que pertenece al género de las cantigas de santuario o de romería. En la primera, la protagonista está anhelando a su amado, y le pregunta al mar por él. Le llega en la segunda un mensaje de que su amado va a venir. En la tercera invita a su madre y a su hermana para que se acerquen a la iglesia a conocerlo. Luego ya, en la cuarta, empieza esta idea de saudade de que el amigo parece que no viene. En las dos siguientes se vuelve algo más optimista hasta que en la séptima se hace consciente de que el amado no va a venir. Entonces, vuelve a preguntarle al mar, y ahí se cierra el ciclo. Vimos muy claro desde el principio este sentido circular y así lo concebimos. No tenemos constancia de otras grabaciones discográficas que lo planteen claramente con ese sentido teatral, unitario y circular”.

Destaca también Delia Agúndez la riqueza de la instrumentación empleada. “Nacho creó incluso instrumentos específicos para el programa, y como siempre mis compañeros han cuidado mucho las fuentes y han sido capaces de crear a partir de los motivos de las propias cantigas un muestrario importantísimo de formas de la época: hay estampidas, trotos, saltarelos, danzas reales... El conjunto nos ha quedado muy sensual. Le hemos puesto mucho cariño y estamos muy contentos con los resultados”. Unos resultados que en concierto han podido verse sólo en Italia: “Lo hicimos el año pasado en Gorizia y el mes pasado estuvimos en un festival en Lombardía. El próximo 12 de noviembre presentamos el CD en las Bodegas Campos de Córdoba, y esperamos que a partir de ahí nos salgan fechas por España”.

Aunque se ha hecho un nombre en la música antigua española, Delia Agúndez es actualmente miembro del Coro Nacional de España. “Yo había combinado siempre el trabajo en muchos grupos de música antigua con el trabajo en coros, no es nada nuevo para mí. Con la pandemia salió la oportunidad de suplir una baja y luego saqué mi plaza en el Nacional. Por suerte, partiendo de ciertas condiciones, son muy flexibles y puedo ir compaginando con otras cosas”. Música medieval, barroca, sinfónico-coral de los siglos XIX, XX y XXI... Delia Agúndez considera que no es fácil hacer todas esas cosas: “Partimos de una base técnica, de respiración, de colocación, que es igual para todo, pero cada repertorio exige adaptarse. Estudio mucho más que antes. Además me preparo muy bien el calendario, miro bien la agenda e intento dejar siempre espacio entre unas cosas y otras, aunque no siempre es posible. Porque además yo soy muy partidaria de la especialización. No sólo de la especialización entre música antigua y romántica, sino dentro de la antigua: no es lo mismo hacer siglo XVII que XVIII y no digamos ya que hacer repertorio medieval. Y lo cierto es que en este sentido tengo que estar enormemente agradecida al grupo. Yo había hecho antes algo de música del medievo, pero ellos me dieron la ocasión de profundizar en ella, grabarla e incorporarla de forma cotidiana a mi trabajo. Me abrieron todo un mundo y no puedo más que agradecérselo”.

[Diario de Sevilla. 27-10-2024]

La ficha ONDAS DO MAR Martín Codax (Siglos XIII-XIV) Ondas do mar de Vigo Mandad'ei comigo ca ven meu amigo Mia yrmana fremosa treides comigo Ay Deus se sab'ora meu amigo Quantas sabedes amar amigo En o sagrad' e Vigo  Ay ondas que eu vin veer Aquel Trovar Delia Agúndez, canto, carillón y pandero de olas; José Ignacio Fernández, cítola, guitarra, arpa y adufe; Antonio Torralba, flautas, gaita y adufe; Daniel Sáez Conde, rabel, carillón y sinfonía. Litopress

EL CD EN SPOTIFY

[womencreativemusic]

Stevie Wishart, U.K.

https://soundcloud.com/stevie-wishart

[hudebni]

Saved on Spotify "O Virtus Sapientie Alio Modo" by Hildegard von Bingen, Stevie Wishart, Sinfonye, Guy Sigsworth https://spoti.fi/2SsSjSX

[luvetlux]

(via https://open.spotify.com/album/1Mpaz2JrmR5nVh1Hnew8vc?si=20kaIYnsR_2Z3mQDG76Dag)

Fred Frith, Stevie Wishart, Carla Kihlstedt ‎– The Compass, Log, And Lead

Tracklist

Time Comes Presto

A Beautiful Thing To Forget / Får Ej Tåckas

Look At Sky Go

Dog-Eared

I Am Buffalo Bill Today

Initially This

Postcard From The Back

I Am Map

Abstract Expressionism

Dream As A Means

Aller Retour

Time Goes Largo

[taleoftales]

The Viriditas Chapel of Perpetual Adoration

Coming soon, the first chapel of Cathedral-in-the-Clouds: The Viriditas Chapel of Perpetual Adoration, a VR experience inspired by the visions and music of Hildegard von Bingen, whose feast it is today.

Hildegard von Bingen was an 12th century abbess in the valley of the Rhine in present day Germany. She was a mystic, a scientist, a composer and a writer. In 2012 she was declared Doctor of the Church, among luminaries such as Theresa of Avila, Thomas Aquinas and Augustine of Hippo. Viriditas is a guiding concept in her thinking. It expresses the vital power of nature, specifically of plants. Within this context, she imagined Jesus Christ to be a flower that blooms on the branch that is the Holy Virgin. It is this idea, combined with her vision of the cosmos in an eternal embrace of the divine, that inspired the Viriditas Chapel.

O greenest branch whose breath inspires the wonder of saints. Hail! When you bloom in your branches the heat of the sun flows from you like ointment. In you a beautiful flower blossomed whose fragrance awakened all that was withered. And all emerged in full vigor!

The Viriditas Chapel of Perpetual Adoration will be released free of charge as a Virtual Reality application for the Windows OS. In it you approach the altar of the chapel reverently and kneel down to meditate assisted by the heavenly sounds of Hildegard's musical poem O viridissima virga. After these five spectacular minutes you remain in silent adoration of The Most Holy Eucharist for as long as you please.

The Viriditas Chapel of Perpetual Adoration will be published as part of FoAM's Anarchive, a collection of artifacts that looks at the multi-decade existence of FoAM, a transdisciplinary organisation founded by Maja Kuzmanovic and Nik Gaffney, who became patrons of the chapel during the crowdsourcing campaign for Cathedral-in-the-Clouds.

Cathedral-in-the-Clouds is an umbrella project for the creation of contemplative art inspired by Christian narratives and iconography in the context of contemporary culture. The digital cathedral is being built piece by piece by artists Auriea Harvey and Michael Samyn, formerly Tale of Tales, now Song of Songs.

://cathedral-in-the-clouds.net/viriditas Art by Michael Samyn Music by Hildegard von Bingen Voices by Stevie Wishart and Synfonie Patrons are Maja Kuzmanovic & Nik Gaffney Fascicle No019 of FoAM Anarchive Published by Liminous Editions Release planned for Michaelmas

[franklymrshankly0]

Great albums #3

Music genre: ambient, minimalism

1. Hildegard (Hildegard Von Bingen)- Hildegard Von Bingen, Sinfonye, Stevie Wishart (2012)

2. ()- Sigur Rós (2002)

3. F♯A♯∞- Godspeed You! Black Emperor (1997)

4. The Draughtsman's Contract: Music From The Motion Picture- Michael Nyman (1982)

5. Mother Earth's Plantasia- Mort Garson (1976)

6. Zuckerzeit- Cluster (1974)

7. Le Roi Est Mort, Vive Le Roi!- Enigma (1996)

8. Dead Magic- Anna von Hausswolff (2018)

9. Return To Forever- Chick Corea (1972)

[zzkt]

In Conversation with Stevie Wishart

Stevie Wishart was FoAM’s “composer in transience” at the Brussels studio for most of 2015. Her residency emerged as a natural consequence of a long involvement with FoAM spanning several years and numerous projects, including most recently Wheel & Time(less), Candlemas Concerto, FutureFest, Smoke & Vapour, and Inner Garden. When I had the opportunity to talk with her in the spring of 2015 she was deeply immersed in a large composition that would be performed by the Orchestra of the Age of Enlightenment in May. Our discussions therefore gravitated around the particular challenges and musical innovations she was imminently preoccupied with at the time — which made for some fascinating comparisons and contrasts between these and the very different contexts and approaches entailed in working on a musical project at FoAM.

via https://medium.com/@alkan/in-conversation-with-stevie-wishart-e95eeaa29b28

[mxrush76]

#NowPlaying A dove gazed in - Columba aspexit de Hildegard von Bingen, Sinfonye, Stevie Wishart

[deziluzija]

In Conversation with Stevie Wishart

In Conversation with Stevie Wishart on Medium.

[laurelhare]

song of the day

[demoura]

PROMS 71 EM DIRECTO NA ANTENA 2

Hoje Andre Cunha Leal apresenta a transmissão em directo do PPROMS 71 “ noite Bach “

PROGRAMA

J. S. Bach

Suite orquestral n ° 4 em ré maior, BWV 1069 19 '

Suite orquestral nº 1 em dó maior, BWV 1066 21 '

- intervalo -

J. S. Bach

Suíte Orquestral No. 2 em Mi menor, BWV 1067 20 '

Suite orquestral nº 3 em ré maior, BWV 1068 20 '

intercaladas com quatro novas obras inspiradas em movimentos de dança das suítes, de Stuart MacRae, Nico Muhly, Ailie Robertson e Stevie Wishart (co-comissões da BBC com o Dunedin Consort: estreias mundiais)

Dunedin Consort

John Butt maestro

[klara-radio]

tracklist:

Hector Zazou; Anne-Marie Altero; Martino Schouman; Yseux Choix; Jean-Christophe Guelpa; Fachad Soltani; Xavier Le Masne; Veronique Sevre; Magali Viallefond; Youen Leberre; Joaquim Vidal; Fred Wallich; Philippe Salicetti: Cine Citta : Gare Centrale (Comp. Hector Zazou) - Geographies - Made to Measure MTM5 - [0:03:16]

Gianluigi Trovesi & Gianni Coscia: Il Postino (Comp. Luis Bacalov) - In Cerca Di Cibo - ECM 1703 - [0:03:25]

Moondog: Pastoral (Comp. Louis Hardin) - Moondog trx1-9 1969; Madrigals Rounds&Canons trx10-35 1971 - [0:02:41]

Arianna Savall; Petter Johansen; Sveinung Lilleheier; Miquel Angel Cordero: El noi de la mare (Comp. Trad.) - Hirundo Maris (Chants du Sud et du Nord) - ECM 2227 - [0:03:32]

Joel Cohen, The Boston Camerata etc.: Ondas do mar /Altas undas que venez suz la mar (Comp. Raimbaut de Vaqueiras; Martin Codax) - Lo Gai Saber - Troubadors et Jongleurs (1100-1300) - Erato 2564 67986-4 - [0:04:25]

Jon Balke; Amina Alaoui: Ondas Do Mar De Vigo (Comp. Martin Codax) - Siwan - ECM 2042 - [0:04:30]

Mara Kiek; Sinfonye o.l.v. Stevie Wishart: Cantigas de amigo - I. Ondas do mar de vigo (Comp. Martin Codax) - Bella Domna - Hyperion 66283 - [0:03:37]

Mara Kiek; Sinfonye o.l.v. Stevie Wishart: Cantigas de amigo - II. Mandad' ei comigo (Comp. Martin Codax) - Bella Domna - Hyperion 66283 - [0:02:36]

Ensemble Gilles Binchois; Dominique Vellard: Cantigas de amigo: IV. Ai Deus, se sab'ora meu amigo (Comp. Martin Codax) - L'Amor de Lonh - Glossa 32304 - [0:04:14]

Ensemble Gilles Binchois; Dominique Vellard: Esta montana d'enfrente (Comp. Trad. Sefardisch) - L'Amor de Lonh - Glossa 32304 - [0:05:35]

Linda Cionitti & Vocal Octet: Even' Song (2001) (Comp. Thomas Martin Wubbenhorst) - Jag & Jersey - MSR Classics - [0:03:49]

Stile Antico: Miserere Nostri, Domine (Comp. Thomas Tallis) - Music For Compline - Harmonia Mundi 907419 - [0:03:13]

Dunsmuir Piano Quartet; Maia Quartet: Abide Canons (Evensongs - Steal Across the Sky) (Comp. Ingram Marshall) - Evensongs - New Albion 092 - [0:06:08]

Penelope Thwaites: The Immovable Do, "The Ciphering C" (Comp. Percy Grainger) - Grainger: Grainger Edition, Vol. 19: Works for Solo Piano, Vol. 3 - Chandos 10205 - [0:04:05]

Josef Bierbichler; Ensemble Modern: Anmut sparet nicht noch Mühe (Comp. Bertolt Brecht; Hanns Eisler; Heiner Goebbels) - Eisler, Goebbels: Eislermaterial - ECM 1779 - [0:07:02]

Hanns Eisler; Andre Asriel: Anmut sparet nicht noch Mühe (Comp. Bertolt Brecht; Hanns Eisler) - Der Brecht und Ich: Hanns Eisler in Gesprächen und Liedern - Berlin Classics 1796 - [0:01:39]

Sarah Cahill: Peace Dances - I-VII (Comp. Frederic Rzewski) - Sweeter Music - Other Minds Records 10222 - [0:13:06]

The Silk Road Ensemble with Yo-Yo Ma: Playlist for an Extreme Occasion (Comp. Vijay Iyer) - A Playlist Without Borders - Masterworks 88883742542 - [0:18:01]

Vijay Iyer: Black & Tan Fantasy (Comp. Duke Ellington, BubberMiley) - Solo - ACT 9497-2 - [0:04:53]

Vijay Iyer Trio: Accelerando (Comp. Vijay Iyer) - Accelerando - ACT 9524-2 - [0:02:52]

Geri Allen: Inner City Blues (Comp. Marvin Gaye) - Grand River Crossings: Motown & Motor City Inspirations - Motéma 233768 - [0:04:26]

Ethel: String Quartet No. 2, "Four Thoughts On Marvin Gaye" I-IV (Comp. Don Byron) - Heavy - Innova Recordings 820 - [0:11:04]

[amamaterial]

Kasper Toeplitz et Stevie Wishart en filage pour le spectacle de Myriam Gourfink, Etale, Festival Extension Sauvage