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.
Bach & Mozart - Academy of Ancient Music - Royal Northern College of Music
%PM, %Europe/London %b %2024, %RI coached students of the Royal Northern College of Music in Manchester from 18–21 June 2024 as part of the Academy of Ancient Music's AAMplify initiative. I taught with Joe Crouch (cello) and (fellow RNCM alumni) Mark Baigent (oboe). I played first trumpet alongside the RNCM students in a performance of Bach’s Lobet Gott in seinen Reichen (Ascension Oratorio, BWV 11), directed by Alexander Rebetge, on Friday 21 June 2024. We stood on the spot where I first played the finger-holed trumpet in performance, as part of my studies at the RNCM from 2006–2010. It was lovely to return to my alma mater to help tutor for this collaboration between the Academy of Ancient Music, the RNCM chamber choir, and the RNCM chamber orchestra.
As well as playing in BWV 11, I also coached the brass section and timpanist to help them prepare for the performance of Mozart’s Great Mass in C minor [K. 427], which filled the second half of the concert. The Mozart was directed by David Hill, the RNCM’s International Chair in Choral Conducting. I stayed to listen and sat alongside my friends David Vickers (who is a font of knowledge on Handel, in particular) and Anna Wright (who was in charge of the RNCM library back in my day). I also bumped into Peter Syrus (former Academic Studies tutor at the RNCM) in the foyer. It was also brilliant to catch up with Murray Greig, now Head of Brass; Harvey Davies, a very fine accompanist; and Andrew Bayly, Head of Ensembles—who all remembered me well! It was a delight to see such an array of old friends and colleagues, and to meet the students—who were all very professional, positive, and well-prepared.
Bach, Concert, Masterclass, Mozart, Natural Trumpet, Teaching
It was wonderful to see so many familiar faces in the college community, including my friend Stuart Overington (who was my direct contemporary on the BMus and QTS courses) who is now the RNCM chorus master. I must say, the RNCM chamber choir sounded magnificent, and the chorale ‘Nun lieget alles unter dir’ in BWV 11 was utterly sublime.
As well as playing in BWV 11, I also coached the brass section and timpanist to help them prepare for the performance of Mozart’s Great Mass in C minor [K. 427], which filled the second half of the concert. The Mozart was directed by David Hill, the RNCM’s International Chair in Choral Conducting. I stayed to listen and sat alongside my friends David Vickers (who is a font of knowledge on Handel, in particular) and Anna Wright (who was in charge of the RNCM library back in my day). I also bumped into Peter Syrus (former Academic Studies tutor at the RNCM) in the foyer. It was also brilliant to catch up with Murray Greig, now Head of Brass; Harvey Davies, a very fine accompanist; and Andrew Bayly, Head of Ensembles—who all remembered me well! It was a delight to see such an array of old friends and colleagues, and to meet the students—who were all very professional, positive, and well-prepared.
As I left Manchester, I felt lucky to be a part of this wonderful community both when I was a student and during this project. The RNCM has got to be one of the most sociable conservatoires in the UK, partly because nearly everything and everyone centres around the refectory, but also partly because of the ethos of the people involved—the professors stay to listen to the concerts, which counts for a lot. People who visit as professors often stay in Manchester for a few days: as a result, the students and staff really make sure you are being looked after. I left totally uplifted, and highly impressed.