Guildhall School’s Faculty Artist Series with percussionist David Corkhill

By -

In 2008, the Guildhall School launched a series of performances by senior professors, giving public, staff and students the opportunity to see Guildhall School professors perform in the intimate setting of the School. Following on from the successful performances by Head of Keyboard Ronan O’Hora, Head of Strings Jacqueline Ross and Deputy Head of Strings Louise Hopkins, David Corkhill (pictured), Professor of Timpani and Percussion takes to the stage on 26 March.

David Corkhill holds Principal positions in two internationally known full time orchestras: the Philharmonia and the English Chamber Orchestra. During his varied career David has played in Britten's chamber opera 'The Turn of the Screw' under the composer's baton. Britten later added a specially composed timpani and percussion part to his cantata' Rejoice in the Lamb' for him, later incorporating ideas from that into the timpani part of his opera 'Death in Venice', in the first performances and recording of which David Corkhill participated. Amongst his engagements as soloist have been performances of Panufnik's Concertino for Percussion with Evelyn Glennie, and Stockhausen's Refrains and Zyklus. During the 1980s David was invited by Vladimir Ashkenazy to perform and record Bartok's Sonata for Two Pianos and Percussion, and this was followed by an invitation from Sir George Solti to perform, film, and record for CBS the same work with himself, Murray Periah, and Evelyn Glennie. In 1988 this recording won the coveted 'Grammy' award. David Corkhill is Professor of Timpani and Percussion at the Guildhall School.

Thursday 26 March 2009, 7.30pm, Guildhall School Music Hall
David Corkhill percussion
Matthew Rich percussion
James Kreiling, Janneke Brits piano
Elena Sancho-Pereg soprano
Derek Welton baritone

BARTOK Sonata for 2 pianos and percussion
BACH Cantata 51 Jauchzet Gott in allen Landen!
BACH Cantata 82 Ich habe genug
BACH Cantata 140 Wachet auf

Unreserved tickets: £15 (£10 concessions) available from the Barbican Box Office 0845 120 7500 or www.barbican.org.uk.

Comments

Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In &quo
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more

The Art of String Quartets by Brian Ferneyhough

By -
Image
When an artist sets paint to canvas, there are brush strokes used for different effects. Sometimes those strokes are subtle, imperceptible; they produce works of art like the Mona Lisa . Other times the very obvious nature of the stroke is the art, as in works by Van Gogh. With some composers of music, the notes on the page are their craft. How those notes translate into an aural experience is what defines some composers as great artists. Brian Ferneyhough has a masterful command of the techniques of putting notes on the page. These techniques are sometimes so subtle, even though written in black and white, they escape detection. Some of what he attempts with his music is just that, to escape detection, to bury the framework, diverting the ear away from the structure, so only the music is heard . The subtlety is so fine it is almost imperceptible. Even though he studied at several institutions, he is considered self-taught, studying scores from Boule
Read more