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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Bach - Christ lag in Todes Banden - New College, Oxford
%PM, %Europe/London %b %2021, %RAfter yesterday’s recording of Bach’s Easter Oratorio [BWV 249] and Der Himmel Lacht! Die Erde jubilieret [BWV 31], and last week’s recording of the B Minor Mass [BWV 232], I was invited back to Oxford to perform Christ lag in Todes Banden [BWV 4]. I play the Cornetto for a video recording at the chapel of New College, Oxford as part of Oxford Bach Soloists’ Easter festival.
I played the Cornetto at A=465Hz [in chorton], while most other players in the ensemble performed at A=415Hz [in kammerton], which is customary for this piece. I was situated within the choir, surrounded by their fantastic sound; rarely have I enjoyed the sound of a choir so much. I was within the soprano section, doubling the voices, alongside Rowan Pierce, and Lucy Cox, Lucy Cronin and Gwen Martin were a few metres behind us.
After the recording session finished for the ensemble, the incredible organist Dónal McCann recorded one of Bach’s organ works (based on the chorale tune used in BWV 4). He impressively transposed this complex organ work down a semitone, so it would fit in with the programme at A=415Hz, on the organ of New College Chapel.
New College is another exceptionally photogenic venue, and I enjoyed capturing a few iPhone photographs in golden hour.
Bach, Cornetto, Festival, OxfordI played the Cornetto at A=465Hz [in chorton], while most other players in the ensemble performed at A=415Hz [in kammerton], which is customary for this piece. I was situated within the choir, surrounded by their fantastic sound; rarely have I enjoyed the sound of a choir so much. I was within the soprano section, doubling the voices, alongside Rowan Pierce, and Lucy Cox, Lucy Cronin and Gwen Martin were a few metres behind us.
After the recording session finished for the ensemble, the incredible organist Dónal McCann recorded one of Bach’s organ works (based on the chorale tune used in BWV 4). He impressively transposed this complex organ work down a semitone, so it would fit in with the programme at A=415Hz, on the organ of New College Chapel.
New College is another exceptionally photogenic venue, and I enjoyed capturing a few iPhone photographs in golden hour.
