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.
Basilica di San Marco, Venice
%PM, %Europe/London %b %2012, %RBy the time Giovani Gabrieli had died, St. Mark's Basilica was already 541 years old.
The building, as I am sure you know, is colossally incredible. With over a million million pieces of mosaic on the ceilings and seven domes—it's a rather impressive sight. Look down and you also won't be disappointed: the intricate stone floor is detailed beyond comprehension. Architecturally, this building has a strong Eastern influence—with its Byzantine feel and Islamic characteristics.
When the opportunity arose for me to play in there, I was ecstatic. It was such a privilege. Playing there—in the same building where many of the great cornetto players (Girolamo Dalla Casa and Giovanni Bassano to name just two) must have played—was such a thrill.
Upon my return, several of my colleagues asked me about the acoustic inside. The fact that I had not thought about it up until their questioning was a good indication that it was functional—I hardly noticed it. Even the domes, often infamous for their unusual acoustic properties, did not cause an issue. If the acoustic had been bad, I'm sure I would have noticed it. It was neither murky, nor completely dry. It has been suggested that, in the Renaissance period, that they hung huge tapestries on feast days to absorb some of the sound (or just to spruce the place up a little!). I would hazard a guess that the modern protective mats that they have placed on some of the more erosion-vulnerable areas of the floor serve much the same function.
With all that gold and ornate decoration, the building is certainly not plain. It is little wonder that musicians made divisions (ornaments) while performing! Somehow, it just feels appropriate in such a flamboyant and elaborate place.
We were playing music by Giovanni Gabrieli and Mikołaj Zieleński, with Collegium Zieleński.
Concert, Cornetto, Music, Travel, VeniceThe building, as I am sure you know, is colossally incredible. With over a million million pieces of mosaic on the ceilings and seven domes—it's a rather impressive sight. Look down and you also won't be disappointed: the intricate stone floor is detailed beyond comprehension. Architecturally, this building has a strong Eastern influence—with its Byzantine feel and Islamic characteristics.
When the opportunity arose for me to play in there, I was ecstatic. It was such a privilege. Playing there—in the same building where many of the great cornetto players (Girolamo Dalla Casa and Giovanni Bassano to name just two) must have played—was such a thrill.
Upon my return, several of my colleagues asked me about the acoustic inside. The fact that I had not thought about it up until their questioning was a good indication that it was functional—I hardly noticed it. Even the domes, often infamous for their unusual acoustic properties, did not cause an issue. If the acoustic had been bad, I'm sure I would have noticed it. It was neither murky, nor completely dry. It has been suggested that, in the Renaissance period, that they hung huge tapestries on feast days to absorb some of the sound (or just to spruce the place up a little!). I would hazard a guess that the modern protective mats that they have placed on some of the more erosion-vulnerable areas of the floor serve much the same function.
With all that gold and ornate decoration, the building is certainly not plain. It is little wonder that musicians made divisions (ornaments) while performing! Somehow, it just feels appropriate in such a flamboyant and elaborate place.
We were playing music by Giovanni Gabrieli and Mikołaj Zieleński, with Collegium Zieleński.
Russell Gilmour playing Cornetto in St. Mark's in Venice
Cornett and Sackbutt players inside San Marco
St. Mark's Basilica
Photo Credit: © Grzegorz Pytlik