Collaborations with...
Rob Szymanek | Ole Farstad | Jasmin Rodgman | Filipe Sousa
Recent projects:
'The Violin Project' at the Forge, Camden
November 2013
The Violin Project was a concert of new music for the violin and a culmination of several projects with different composers and musicians.
the bond between: I was very excited to perform the bond between in its original form (for solo violin and 3 loop pedals by Rob Szymanek) alongside my new acoustic arrangement for 3 violins and viola spaced out in a large square surrounding the audience. This new version is more improvisatory than the original and draws on the individual characteristics brought out in each musician’s style of playing. The instrumentation is a reference to Laurie Bamon’s beautiful composition, The Wind, which was also performed.
Sadanga for violin and electronics – working with Toby Young. One of several pieces written especially for the Violin Project.
Experimenting with different ideas for performing Sadanga was a fascinating exploration into creating optimal colour, especially in the three unaccompanied movements. I am very grateful to Toby’s willingness for me to add my interpretation to his score, using quartertones, playing near the bridge, over the fingerboard, ornamentation and vibrato.
Also included in the concert were works with Ole Farstad for violin, 2 sarods and electronics and a little taste of an Indian temple brought back from a recent trip with percussionist Will Roberts. Listen to the performance of '94 Strings' with Old Farstad here.
November 2013
The Violin Project was a concert of new music for the violin and a culmination of several projects with different composers and musicians.
the bond between: I was very excited to perform the bond between in its original form (for solo violin and 3 loop pedals by Rob Szymanek) alongside my new acoustic arrangement for 3 violins and viola spaced out in a large square surrounding the audience. This new version is more improvisatory than the original and draws on the individual characteristics brought out in each musician’s style of playing. The instrumentation is a reference to Laurie Bamon’s beautiful composition, The Wind, which was also performed.
Sadanga for violin and electronics – working with Toby Young. One of several pieces written especially for the Violin Project.
Experimenting with different ideas for performing Sadanga was a fascinating exploration into creating optimal colour, especially in the three unaccompanied movements. I am very grateful to Toby’s willingness for me to add my interpretation to his score, using quartertones, playing near the bridge, over the fingerboard, ornamentation and vibrato.
Also included in the concert were works with Ole Farstad for violin, 2 sarods and electronics and a little taste of an Indian temple brought back from a recent trip with percussionist Will Roberts. Listen to the performance of '94 Strings' with Old Farstad here.
Ama Bazar at "le tout petit festival musical" in the 'temple' of Saint Germain de Calberte, France
2 - 11 August 2013
Our performance at the festival in the Cevennes was a musical journey through many different countries; hints of India leading into the Balkan folk song 'Ederlezi', an Eastern European trio mixed with flamenco, Russian folk dance, songs from Greece and Macedonia, finishing with a milonga, waltz and tangos from Latin America. We created our own arrangements of folk songs and dances based around the theme of the festival: songs of love and the night. This included both traditional renditions of folk songs and more experimental versions juxtaposed with elements of improvisation, whilst drawing on each musicians' own musical style, including flamenco, klezmer, jazz and Indian classical.
Our performance at the festival in the Cevennes was a musical journey through many different countries; hints of India leading into the Balkan folk song 'Ederlezi', an Eastern European trio mixed with flamenco, Russian folk dance, songs from Greece and Macedonia, finishing with a milonga, waltz and tangos from Latin America. We created our own arrangements of folk songs and dances based around the theme of the festival: songs of love and the night. This included both traditional renditions of folk songs and more experimental versions juxtaposed with elements of improvisation, whilst drawing on each musicians' own musical style, including flamenco, klezmer, jazz and Indian classical.
Dr K Sextet at the Cheltenham Festival's composer's academy
Photo by Aaron Holloway-Nahum © 2013
4 - 7 July 2013
Workshops and performance of 8 new compositions written for the Dr K Sextet. With coaching from leading composition teachers, we experimented with and discussed works in a variety of stages of completion. As one of the performers, it was fascinating to play such contrasting pieces; involving electronics, spoken word and drama, aspects of improvisation and influences from Indian classical rhythms to minimalism.
Representing the Dr K Sextet, I took part in a panel discussion on 'the role of the performer'; a popular topic amongst both the performers and composers at the composer's academy! Of particular relevance to my collaborations was the issue of ownership between the performer and composer in a collaboration. If a composer notates a performer's improvisation or instructs the performer to improvise in a performance, who has creative ownership of the piece: the composer, performer or both composer and performer?
Read the Guardian's review of the concert here.
Workshops and performance of 8 new compositions written for the Dr K Sextet. With coaching from leading composition teachers, we experimented with and discussed works in a variety of stages of completion. As one of the performers, it was fascinating to play such contrasting pieces; involving electronics, spoken word and drama, aspects of improvisation and influences from Indian classical rhythms to minimalism.
Representing the Dr K Sextet, I took part in a panel discussion on 'the role of the performer'; a popular topic amongst both the performers and composers at the composer's academy! Of particular relevance to my collaborations was the issue of ownership between the performer and composer in a collaboration. If a composer notates a performer's improvisation or instructs the performer to improvise in a performance, who has creative ownership of the piece: the composer, performer or both composer and performer?
Read the Guardian's review of the concert here.
iyatraQuartet in collaboration with Kirsty Arnold at Open Arts Cafe
Photo by Hannah Dunster © 2013
24 January 2013
Our performance for the Open Arts Cafe was created specially around the theme of 'obsession'. Working with dancer, Kirsty Arnold, we used the wonderful space of the West London Synagogue, incorporating movement into both new and old music.
'Best bit of live music I've seen for ages!' - Simon at Open Arts
Our performance for the Open Arts Cafe was created specially around the theme of 'obsession'. Working with dancer, Kirsty Arnold, we used the wonderful space of the West London Synagogue, incorporating movement into both new and old music.
'Best bit of live music I've seen for ages!' - Simon at Open Arts
the bond between for 3 violins and viola at the Freedom Arts Project
Alice Barron and Sarah Hill performing the bond between, January 2013
13 January 2013
the bond between was originally a piece for solo violin with 3 loop pedals that was the result of the collaboration between violinist Alice Barron and composer Rob Szymanek, taking inspiration from Indian classical music. Alice's new arrangement is an acoustic version for 3 violins and viola spaced out in a large square surrounding the audience. Each musician has an improvised solo, with interjections of phrases from Indian ragas played by Alice. The material that was originally recorded onto the loop pedals provides layers played by the other 3 musicians beneath the solos.
The first performance was with Sarah Hill, Eugene Feygelson and Neil Valentine at the Freedom Arts Project launch at Mango Landin' in Brixton, where the audience sat on the floor between the musicians.
Listen to and read more about the original Rob-Alice collaboration here.
the bond between was originally a piece for solo violin with 3 loop pedals that was the result of the collaboration between violinist Alice Barron and composer Rob Szymanek, taking inspiration from Indian classical music. Alice's new arrangement is an acoustic version for 3 violins and viola spaced out in a large square surrounding the audience. Each musician has an improvised solo, with interjections of phrases from Indian ragas played by Alice. The material that was originally recorded onto the loop pedals provides layers played by the other 3 musicians beneath the solos.
The first performance was with Sarah Hill, Eugene Feygelson and Neil Valentine at the Freedom Arts Project launch at Mango Landin' in Brixton, where the audience sat on the floor between the musicians.
Listen to and read more about the original Rob-Alice collaboration here.
Barbican's Pit Theatre LAB with Soundbites theatre company:
Photo by Alastair Gray © 2013
10 - 11 January 2013
Along with composer and pianist Rae Howell, I was part of a workshop experimenting with improvisation in Jose Rivera's play, Cloud Tectonics. Working alongside actors, we explored how musical improvisation can both enhance and lead the drama, resulting in a different outcome in each performance. For me, creating music by following the script and actors was a new starting point for my improvising and a fantastic opportunity to be involved and influential as a musician in theatre. This strikes me as a very exciting way of working and I hope to collaborate with more actors in the future.
Along with composer and pianist Rae Howell, I was part of a workshop experimenting with improvisation in Jose Rivera's play, Cloud Tectonics. Working alongside actors, we explored how musical improvisation can both enhance and lead the drama, resulting in a different outcome in each performance. For me, creating music by following the script and actors was a new starting point for my improvising and a fantastic opportunity to be involved and influential as a musician in theatre. This strikes me as a very exciting way of working and I hope to collaborate with more actors in the future.
© Copyright Alice Barron 2020
