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 Requiem & Haydn Theresienmesse - St. Martin-in-the-Fields
%PM, %Europe/London %b %2016, %RSt. Martin-in-the-Fields was the venue for a candlelit concert on Saturday 28th of May 2016. The Brandenburg Sinfonia performed music by Mozart and Haydn with the professional choir of St. Martin’s Voices, led by St. Martin-in-the-Fields’ Director of Music, Andrew Earis.
On this occasion, the orchestra played on modern instruments and I played in a section with Paul Archibald. The concert began with Mozart’s ‘Inter natos mulierum’ K.72, followed by ‘Ave verum corpus’ K.618 - which demonstrated the controlled skill of the choir. Haydn’s ‘Theresienmesse’ Hob.XXII:12 proceeded the interval and provided a change of flavour for the audience. The second half of the concert featured Mozart’s ‘Requiem’ K.626 (the version that had been completed by Franz Xaver Süssmayr), which is always a joy to play or hear. A particular highlight was the wonderfully virtuosic bass playing in the ‘Offertorium: Domine Jesu’ played by, among others, double bassist Andrew Davies with fantastic control and with a great deal of excitement.
The ensemble gave excellent performances of these works and the full audience at St. Martin-in-the-Fields gave a standing ovation after Mozart’s Requiem.
Brandenburg Baroque Soloists, Classical, Haydn, London, Modern Trumpet, Mozart, St. Martin-in-the-FieldsOn this occasion, the orchestra played on modern instruments and I played in a section with Paul Archibald. The concert began with Mozart’s ‘Inter natos mulierum’ K.72, followed by ‘Ave verum corpus’ K.618 - which demonstrated the controlled skill of the choir. Haydn’s ‘Theresienmesse’ Hob.XXII:12 proceeded the interval and provided a change of flavour for the audience. The second half of the concert featured Mozart’s ‘Requiem’ K.626 (the version that had been completed by Franz Xaver Süssmayr), which is always a joy to play or hear. A particular highlight was the wonderfully virtuosic bass playing in the ‘Offertorium: Domine Jesu’ played by, among others, double bassist Andrew Davies with fantastic control and with a great deal of excitement.
The ensemble gave excellent performances of these works and the full audience at St. Martin-in-the-Fields gave a standing ovation after Mozart’s Requiem.