For the 250th anniversary of Beethoven’s birth, Sound Affairs is presenting an updated version of its LUDWIG programme, scored for piano quintet (piano and string quartet).
Giordano Ferla – piano 
Vlad Maistorovici – violin 1 
Rachael Elliot – violin 2 
Niamh Aston – viola 
Kathryn Price – cello
The programme includes works by Ludwig van Beethoven – solo piano, string quartets, and transcriptions of orchestral works – as well as music (some of it written as responses) from Orlando Gough, Charlie Barber and American composer Robert Moran.
The programme is continuous – a musical journey through a variety of works. To enable the audience access and experience the music through a fresh approach, we would prefer, where possible, to stage the performance in the round, or other alternative staging which encourages an innovative interaction with the music.
The performance lasts approximately 60 minutes and there is no interval.
“Barber’s fascination with the idea of taking fragments of existing music and using them as a basis for some entirely new has continued and there are now six pieces inspired by Beethoven. The notion of evoking something of the spirit of the original composer through quotations is rather romantic given such a robust and often uncompromising style of music, yet there is a definite resonance in the pulse and rhythm which makes for compelling listening. Barber has a neat way, too, of picking up on associations with words which in turn lead him to play with intriguing musical ideas.
The opening work, Chorda Timpani, is a case in point. Originally written for two timpanists, it uses fragments of the timpani parts from all nine of Beethoven’s symphonies, but the titles reference to a particular nerve fibre and to the tympanic membrane of the ear makes for a connection with Ludwig which is both poignant and ironic. Melodram: Funeral Flowers, Barber’s variation on music which Beethoven wrote for the Glass Harmonica, also has a haunting fragility.
Ultimately, it matters little whether you get the musical references, though some are obvious, rather it’s the thought process that counts here, Beethoven’s, Barber’s and yours, the listener.”
Rian Evans, Musical Opinion
Performances
| 26.07.20 | WORCESTER | Three Choirs Festival |
| 17.11.19 | CARDIFF | University Concert Hall |
| 23.10.07 | LAMPETER | University |
| 20.10.07 | LLANTWIT | St Donats Arts Centre |
| 14.10.07 | SWANSEA | Music Festival, Taliesin Arts Centre |
| 11.10.07 | ALSAGER | Arts Centre |
| 10.10.07 | BRADFORD-ON-AVON | Wiltshire Music Centre |
| 02.10.07 | LONDON | Southbank Centre, Purcell Room |
| 30.09.07 | CARDIFF | Chapter Arts Centre |
| 29.09.07 | MOLD | Clwyd Theatr Cymru |
| 27.09.07 | TENBY | Festival, De Valance Pavilion |
| 26.02.06 | HOLYHEAD | Ucheldre Centre |
| 25.02.06 | ABERYSTWYTH | Arts Centre |
| 24.02.06 | CARDIFF | The Gate Arts Centre |
Produced by Sound Affairs
Contact for bookings: info@soundaffairs.co.uk
This project has received financial support from:
