Originating as a sexy South American dance, the chaconne crossed the Atlantic to sixteenth-century Spain, where it acquired a reputation as a dangerous pleasure. Constructed on repeating ground basses, the form’s sinuous flexibility articulated two facets of the modernist urge to self-expression: the boisterous delights of turning the world upside down and the sweet sadness of melancholy introspection.
From the Ground Up: The Chaconne explores the history of the chaconne in Spain and Italy, and its acceptance into high musical culture. In England it became a chief inspiration for Purcell, while in Germany it triggered the sublime achievement of Bach’s ‘Ciaccona’ from the Partita in D minor for Solo Violin. Also springing from this fertile soil are works by contemporary composers Johannes Marmén and Dušan Bogdanović, and three sets of improvisations – ‘Ground’, ‘Breath’, ‘Being’ – based on themes from Purcell. These include the elemental art of overtone singing, performed by Gareth Lubbe, who studied with the Tuvan people of Siberia. Returning to the chaconne’s Renaissance roots, readings from Shakespeare by actor Sam West inspire extempore reflections by beat poet Baba Israel.
Borders evaporate and improvisation builds bridges between works, creating a sensation of hovering free in the air: like birds — Svenska Dagbladet
Paul Williamson’s recent work includes Ekphrasis (2014), a book in blank verse about the American sculptor Richard Serra; The New Potato Eaters: Van Gogh in Nuenen 1883–1885 (2015),an edited book of miscellaneous surprises; The Art of Borrowing: Or How One Thing Leads to Another (2016), another edited book; and ‘Infinities’, in Galileo 24(2017) by Debbie Loftus. Six London Preludes, with Paul’s texts and 317 photographs by Debbie Loftus was published in December 2017. Recent review essays include ‘Many Realities: Picasso Portraits, National Portrait Gallery, October 2016 – February 2017’ in The London Magazine. Among Paul’s numerous texts for music is Panathenaia, a cantata on classical Greek themes, with music by Thomas Hewitt Jones, performed at the British Museum(2015). ‘A Golden Tree’ (2016), also with music by Hewitt Jones, is available from Boosey and Hawkes. Paul’s latest book, Clay: Themes and Variations from Ancient Mesopotamia, was published in October 2018.
Jose Pesquero took his first steps as a photographer when he started using SLR cameras to photograph landscapes, nature and wildlife. He discovered a passion for bird photography and birdwatching,and greatly enjoys learning from birds by closely studying their habits and behaviour. Capturing the intimate, joyful and special moments experienced by birds is always an exciting challenge. Most recently,he has been nurturing his passion by experimenting with macro photography, using extreme close-ups to take photos of miniature worlds.
My work is about the nonvisible. I am deeply influenced by the thoughts and ideas of fellow artist Joan Fontcuberta (Barcelona,1955) in relation to photography ́s nature. This is one of the reasons my attention has primarily centered on the characteristics of what remains invisible to the viewer. Concerned about the extraordinary power of what is not seen.. all type of concealed layers, hidden in plain sight, are the center of obsessive artistic exploration. In this complex hide-and-seek game, there is a transcendental moment. When a glitch, a hole, some kind of anomalyreveals a new reality, hidden right in front of the audience eyes. The resulting works arisequestions that revolve around perception, truth, mysteries, beliefs...and alsothe nature ofphotography itself.
This disc is a rare pleasure. Music to feed both brain and soul — The Arts Desk
The album evokes a fascinating world where silence and the spaces between are just as important as the sound. And that is full of charged passages between Western and Indian. A breath that feels completely natural and organic. It is both bold and astonishingly natural.
Here it is the combination of material that matters, and I found the programme both seductive and thought-provoking.
“...the character came from the strings of O/Modernt... Every phrase had purpose and colour.
Ticciati’s extraordinarily vivid playing holds it all together expertly
Dazzling wide-ranging recital played with captivating sensitivity
The young vibrant entity that is Hugo Ticciati and his group O/Modernt surely represent something very positive about the potential future of classical musical performance. Evident joy and freshness for performing this stimulating programme carried all before it and both the new music they presented, as well as the more familiar, proved to be completely infectious.