Happy Birthday, J S Bach!
St Giles High Street, London WC2H 8LG
(Close to Tottenham Court Road underground)
Andrew Benson-Wilson (organ)
Poppy Walshaw (cello), Annabel Knight (flute)
Art of Moog: 21st Century Hyper-Bach on Synthesizers
Three informal 45′ afternoon Bach organ and solo instrument recitals
(Free entry – donations welcomed)
4pm. Andrew Benson-Wilson + Poppy Walshaw
(Cello Suite 2 in d)
5pm. Andrew Benson-Wilson + Annabel Knight
6pm. Andrew Benson-Wilson + Poppy Walshaw
(Cello Suite 3 in C)
Special evening concert @ 7.30
(Tickets £15 from Eventbrite or on the door)
ART OF MOOG
21st-Century Hyper-Bach on Synthesizers
(combined with the historic St Giles-in-the-Fields organ,
with pipework dating back to Bach’s time) Continue reading
From organrecitals.com. Link to the live webpage here.
Art of Moog: Bach & beats
The Cello Factory, Waterloo, 18 June 2019
Bach was influenced by a wide range of musical styles of his time, travelling to learn about other musical traditions and copying manuscripts of other composers. If he had been around, not in the 1700s, but in the 1960s, when the likes of Pink Floyd, Keith Emmerson, and Rick Wakeman were active; when Wendy Carlos’s ‘Switched-On Bach’ was released and, a few years later, when Kraftwerk highlighted their genre of electronic synth-pop, then he would surely have appreciated the world of synthesised music. Indeed, his own instrument, the organ, is a giant wind-blown synthesiser, with the names and sounds of most of its stops replicating Renaissance instruments. The four-strong group Art of Moog base their music on Bach, Wendy Carlos and Kraftwerk under the banner of ’21st-century Hyper-Bach on Synthesizers’.
Their concert for the Waterloo Festival was given in the delightful Cello Factory, an art gallery in the streets close to London’s Waterloo Station. Three distinguished early-music harpsichord players (Robin Bigwood, Steven Devine & Marin Perkins) gathered around a collection of keyboards, synthesisers, vocoders and other complicated looking little boxes, together with the equally distinguished recorder player Annabel Knight, who clipped an EWI5000 (an Electronic Wind Instrument) onto a lanyard around her neck. This was not going to be a ‘normal’ period instrument early music event – indeed, we were told that what we were about to hear was “absolutely bonkers”. Continue reading