The Medieval Manuscript the 'Chronicles of Mann and Sudreys' mentions various locations, including the Isle of Man, Wales, Scotland, Ireland and even places as far away as Norway and Brittany.
Russell Gilmour (trumpet) and David Kilgallon (organ) use melodies from these countries and they merge and fuse these ideas together with their own to create unique compositions for trumpet and organ. The idea behind their musical collaboration is to explore traditional music from these countries and to adapt the music, interpret it and explore it. Chronicles' musical format is slightly unusual in that it combines trumpet and organ - not the instruments you may initially associate with folk music - but it is an approach that has sparked a lot of interest.
Their limited edition EP "Prologue" is a sample of things to come, as the production of a full album is underway. The full album will be Chronicles' musical impression of the Isle of Man's influences and rich history - as documented in the Chronicles of Mann.
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writing on music, photography, travel and life as a freelance professional musician.
Mozart & Haydn - Instruments of Time & Truth - Keble College Chapel, Oxford
%PM, %Europe/London %b %2021, %RFollowing an extraordinarily long run of consecutive work, in Croatia, London and Oxford, I returned to Oxford to record choral works by Mozart and Haydn under the baton of Paul Brough, with Instruments of Time & Truth and the excellent Choir of Keble College Oxford. Adrian Peacock was the producer.
We recorded Mozart’s Missa in C major [K. 258] on Saturday 2nd October 2021 and recorded Mozart’s Regina coeli [K.276 (321b)] and Haydn’s Te Deum (für Fürst Nicolaus Esterházy) on Sunday 3rd October 2021. I played second trumpet in the recordings; I was covering for an ill colleague.
I had not visited Keble College before, and I enjoyed recording in this beautiful chapel. The weather had been fairly inclement, and rain could be heard in the resonance after some of the final chords had sounded. This did not detract from the excellent musicianship and was not audible on every take. It was great to play beautiful music and I was glad to be playing less complicated trumpet parts than I had been for the the highly ornate trumpet music I had been playing in Croatia and in London earlier in this sizeable consecutive run.
