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.
Vivaldi - Gloria - St. Martin-in-the-Fields
%PM, %Europe/London %b %2017, %RPerforming at St. Martin-in-the-Fields is always a privilege. The site on the North-East corner of London's iconic Trafalgar Square has a fascinating history dating back to Roman times (c.410 AD). A magnificent example of Neoclassical architecture, the current building was designed by architect James Gibbs and construction was completed in 1726.
Concerts at St. Martin-in-the-Fields tend to attract sizeable and international audiences. With the proximity of many theatres and other venues, and taking into account the enormous variety of entertainment on offer around the capital, I find it incredibly encouraging that so many visitors choose to attend performances at St. Martin-in-the-Fields. It's hardly surprising though, as there is a varied programme of events on offer, with exceptionally talented performers performing well-known music in concerts of an exceptional calibre - happening right in the heart of London.
On this occasion, the 25th February 2017, the Brandenburg Baroque Soloists performed Bach's 'Concerto for Two Violins in D minor' (BWV 1043) and the 'Brandenburg Concerto No.3 in G major' (BWV1048), both were directed by lead violinist Adrian Butterfield.
Baroque, Brandenburg Baroque Soloists, London, Natural Trumpet, St. Martin-in-the-Fields
Concerts at St. Martin-in-the-Fields tend to attract sizeable and international audiences. With the proximity of many theatres and other venues, and taking into account the enormous variety of entertainment on offer around the capital, I find it incredibly encouraging that so many visitors choose to attend performances at St. Martin-in-the-Fields. It's hardly surprising though, as there is a varied programme of events on offer, with exceptionally talented performers performing well-known music in concerts of an exceptional calibre - happening right in the heart of London.
On this occasion, the 25th February 2017, the Brandenburg Baroque Soloists performed Bach's 'Concerto for Two Violins in D minor' (BWV 1043) and the 'Brandenburg Concerto No.3 in G major' (BWV1048), both were directed by lead violinist Adrian Butterfield.
In the second half of the concert, the ensemble was joined by conductor Mark Gotham and the Chapel Choir of Churchill College, Cambridge, as well as oboist, Geoff Coates and natural trumpet player, Russell Gilmour. The orchestra and choir performed Vivaldi s 'Gloria' - with many excellent moments all round. The two soloists, Natasha Day and Katie Coventry were brilliant, both individually and together - their duet in 'Laudamus te' was beautiful. Mark Gotham directed the ensemble with enthusiasm and vitality and it was a very enjoyable performance. The final movement, 'Cum Sancto Spiritu' was full of energy and the final chord of the concert was just perfect, resounding throughout the wonderful acoustic space inside St. Martin-in-the-Fields.
Thanks to all in the Brandenburg Baroque Soloists, and in particular to their Artistic Director Robert Porter.