Steve Reich Music for Mallets and Drumming
The Colin Currie Group
February 2010
“Refreshingly unique, their programme mesmerised the audience. The Colin Currie Group and Synergy Vocals are all very talented and are definitely worth going to see in whatever they take on next.”
Redbrick
Music for Mallet Instruments – “a riveting account of one of my favourite Reich pieces. A superb concert….a truly wonderful group of highly talented musicians”
Musicweb-international.com
Synergy represented by
Left to right: Heather Cairncross, Micaela Haslam, Amy Howarth
Birmingham Town Hall
Amy was with us for Music for Mallets in which she and I do our best impressions of the right hand notes of the electric organ; Heather gets the funky marimba patterns to sing. We hadn’t performed the piece since 2006, but the voice parts are pretty straightforward – at least, in terms of what to sing when. The percussionists have much more counting and cueing to worry about – and once again we were impressed at the speed at which these boys can put a piece of Steve Reich together. There were many repeat counts and cue-notes jotted down during a brief talk-through, then somehow the concert was absolutely perfect. Seriously cool dudes!
Clockwise from front: Andrew Cottee, Aidy Spillett, Joby Burgess, Richard Benjafield and Tony Bedewi rehearsing Music for Mallets
Colin, Joby, Richard and Sam rehearsing Drumming Part 1
Drumming was a triumph once again, but there was little time to celebrate for those of us who had a train to catch. Once on the train, a few beers were consumed and we had a good catch up. All was very chilled – until we approached Euston and realised that our train was running 20 minutes late. We were due to arrive in Euston at 00.05, and it was now 00.25 – around the time that all the tube trains stop for the night. As soon as the doors opened we all ran from the train, across the station, down the escalators, across platforms – and only just made it on to the last tubes. Stress or what! Owen Gunnell, as usual, had the craziest journey of all. He’d left his van up in north London so was on his way to retrieve it. He then had another hour and a half’s drive up beyond Cambridge – and the following day he was flying to Australia to play a concerto with London Sinfonietta. If he’d missed the last tube he would have been seriously snookered – that’s dedication to The Colin Currie Group for you!”
Micaela
Steve Reich Drumming
Colin Currie Group
February 2010
“As the solo female voices start, we could be back in the era of the Swingle Singers”
Financial Times
“This was a mesmerizing performance, which was highly appreciated by the QEH’s capacity audience, which included Reich himself. A feast for the eyes as well as for the ears….The voices, whistling and piccolo were blended, adding an interesting timbral effect which was well-balanced…an impressive performance…something I was very glad not to have missed.”
Seen and Heard International
“Held together by eye contact, ear contact, intimate understanding of the score and collective breathing, the performance was both aurally and visually exciting”
The Independent
“virtuoso band of musicians…performed with finesse and moment-by-moment satisfaction. No wonder the composer himself, taking his bow at the end, looked so pleased”
Times Online
“Something special happened at the Queen Elizabeth Hall…..That (Steve Reich) was so effusive about the performance added to the audience’s already overwhelming acclamation…a mesmerising performance…from all angles, a revelation”
Classicalsource.com
Synergy represented by
Heather Cairncross and Micaela Haslam
“Our first get-together with “Col & the Gang” in nearly 2 years was to be on Valentine’s Day – ah! The last time we all met was in April 2008 in Perth, where we performed Drumming in the wonderful concert hall there. That concert had followed a hugely successful Prom at the Royal Albert Hall in 2006 – so this was like meeting up with old friends. Colin’s team of percussionists is one of my favourite ensembles to work with. Every single member of the ensemble is hugely talented, and the list of awards and competitions they’ve won between them is eye-watering. No shortage of rhythm in this group!
Our rehearsal was really more about catching up, talking through the music then practising the cues, as there is no “director” as such in Drumming. A couple of days later we were straight in to the Queen Elizabeth Hall. The QEH is actually the perfect sized hall for this piece. It’s big enough to deal with the accumulative sound of all the “clangers and bangers”, but small enough for the audience to feel involved in the performance.
Tony Bedewi, Aidy Spillett, and Andrew Cottee inserting much-needed ear plugs for Section 3
We spent a very long afternoon sound-checking, which is absolutely crucial to the success of any performance of music by Steve Reich. There was a lot of hanging around, but no-one got impatient, thanks largely to Colin’s calm efficiency and good humour.
After much interest in the group following the RAH and Perth concerts, we were now officially “The Colin Currie Group with Synergy Vocals”, and we were all very excited that Steve Reich himself would be at this concert. I was particularly thrilled on the percussionists’ behalf because I was sure that Steve would be blown away by their virtuosity – and indeed he was.
Drumming Part 1 with Colin Currie, Sam Walton, Richard Benjafield and Joby Burgess
At the post-concert talk, Steve said he’d never heard a performance like it, and felt unworthy to share the stage with Colin Currie. I don’t think Colin would agree with that, but it was very nice of Steve to say it. He added that Drumming was now safely in the hands of a new generation – and at a new level of performance. With such an endorsement by the man himself, I think we can safely say that February 2010 won’t be the last time we perform Drumming together.”
Micaela
Synergy represented by
Left to right: Amanda Morrison, Micaela Haslam, Julia Batchelor, Katy Hill
“Having worked with London Sinfonietta on their first Music for 18 Musicians (without conductor) in April 2008, we were delighted to be involved in this re-run with the man himself – Steve Reich. Fortunately, we had most of last year’s players – crucially Tim Palmer on vibraphone and Tim Lines (cue-meister) on 1st clarinet. New to the team were David Alberman (violin) – who had played the piece before; Oliver Coates (cello) – an absolute delight to work with; Sam Walton (perc) – who we’d worked with before on Drumming; Duncan Prescott (cl 2) – who could simply follow Tim Lines for cues; and Oliver Lowe – our extra percussionist.
Tim Lines, Duncan & Katy
It was my job to oversee rehearsals. I’d coached Music for 18 on several occasions, but never with Steve playing. After a couple of rehearsals without Steve, he was able to slot into an extremely tight ensemble, and I could see straight away that he was delighted with Sinfonietta’s rendition of the piece. It had quite a different character from that of Steve Reich & Musicians or Ensemble Modern, and that’s as it should be. Music for 18 really is a piece that each ensemble can “make their own” – apologies for the X-Factor cliché!
Alex & Neil on marimbas 1 & 2 - deep in concentration
Rehearsing in Festival Hall
It’s such a treat to work with these players. After several projects together, this was like a get-together with a bunch of old mates. The marvellous Sarah Holmes kept us all on track as usual, so we could just enjoy the ride.
The whole team
We’d known for some time that the Royal Festival Hall was completely sold out for this concert. Friends of mine had been calling the box office for weeks trying to get returns, but sadly there weren’t any. The Clore Ballroom, set for Steve’s post-concert talk, was also packed to capacity. This was a really exciting event on the South Bank; Steve is such a pop star these days, and I feel extremely privileged to have worked so closely with him for such a long time. The first half of the concert went to Bang-on-a-Can with Clapping Music, Sextet and Electric Counterpoint. Then came our Music for 18 which went down a storm. It’s not often you get a standing ovation in RFH for a “contemporary classical music” concert, but everyone was on their feet. There was an amazing atmosphere in the hall.
Julia, Steve & Mandy
Taking a bow
Steve later described this concert to me as the best of his music he’d ever heard at the South Bank. It’s wonderful that a UK ensemble finally has Music for 18 firmly in their repertoire, and I’m quite sure that there will be many more performances by this team in future. Watch this space…”
Micaela
Synergy represented by
(Left to right): Rachel Weston, Heather Cairncross, Amy Haworth, Jenny Bacon
“A slightly bleary-eyed Synergy contingent stepped off the Eurostar in Brussels on a sunny Thursday morning in October. As Heather, Rachel, Amy and I arrived at our hotel we were faced with what looked like a building site. We soon realised this was the current look of Brussels in the midst of improvements to their transport system, and I am pleased to report it did not affect our rest time!
After lunch and a shower we headed to Ictus headquarters on the other side of town where we were greeted with free tea and cake (always a winning start to any rehearsal!). A fairly relaxed rehearsal followed, setting us up well for our day off. This saw Rachel single-handedly keeping the Belgian economy afloat as she purchased a lifetime supply of trousers at the flea market. Heather and I enjoyed the chocolate shops where we managed a good quantity of free samples, largely by visiting a particularly generous vendor a number of times. The Grand Place proved a good coffee stop and looked stunning in the autumn sunlight.
Amy and Rachel
As we got to the double concert day, a simultaneous performance in London taking place with our ‘Synergy London’ representatives, a lengthy afternoon soundcheck awaited us in Brussels. This pleased Ms Weston greatly as she revelled in the momentary but dulcet tones of our vocal quartet, followed by a brief full rehearsal before the show.
With Ictus dressed for the concert as if for a party in someone’s home, Synergy were dressed to impress in our trademark glamorous sparkly tops and trousers! We had a reasonable British fan base in the audience totalling six. I’ve yet to be involved in a Music for Eighteen that isn’t a triumph and this was certainly no exception! Elaborate lighting enhanced some tremendous music making and the crowd was, as always, elated. After a good half a dozen returns to the stage as the audience showed their appreciation it was off for a late dinner, relieving our pockets of even more Euros.
Heather showing Miguel how it's done
A musician friend forming part of our entourage has been a fan of Music for Eighteen for years but had never heard a live performance until Brussels. She couldn’t contain her excitement afterwards, declaring ‘That piece live is amazing. One of the best concerts I’ve ever heard.’ I have to agree I am yet to tire of this piece. As visual as it is musically thrilling, there is certainly never a dull moment. Here’s to many more performances at home and abroad! ”
Jenny
Steve Reich Music for 18 Musicians
Ictus
October 2009
“Nineteen musicians – all experts in the works of Reich. The audience was in for an exceptional experience, a fascinating and hypnotic journey without equal in classical music – the applause at the end was more reminiscent of a rock concert”
La Libre Belgique
Steve Reich Music for 18 Musicians
Steve Reich/London Sinfonietta
(rehearsals directed by Micaela Haslam)
October 2009
“In a performance as good as this, which involved four members of Synergy Vocals adding their almost imperceptible harmonic descants to the Sinfonietta players’ impeccably timed relays, the work seemed to exist in an eternal present, forever changing even as it remained paradoxically the same – the piece held the audience in its thrall and received a standing ovation”
The Guardian
“This was a truly spectacular performance by these eighteen musicians, who gave their all to provide a triumphant and dazzling display.”
musicweb-international.com
“Three thousand people sat gripped….hypnotic …..superbly played”
The Times
“one of the highlights of London’s contemporary music calendar this year…..filled both the Festival Hall’s auditorium and the foyer, where the concert was relayed on a video screen in the Clore Ballroom. Excellent choreography and team-work…..this was a truly spectacular performance….a triumphant and dazzling display”
musicweb-international.com
Synergy represented by
Amy Haworth, Micaela Haslam, Heather Cairncross
(photo by Philippe Stirnweiss)
“Having just finished our Music for 18 concert in Strasbourg with Ensemble Modern and Steve Reich, Heather and I headed straight up to Cologne to rehearse Shelter (by Michael Gordon, Julia Wolfe and David Lang) with musikFabrik. Amy flew in the following afternoon and we had our first singers-only rehearsal with the conductor, Peter Rundel. Heather and I worked with Peter some years ago in Paris, when we sang Tehillim with Ensemble InterContemporain. We were immediately reminded of his delightful manner, clarity and efficiency – so much so that the second rehearsal was promptly cancelled! We covered all the various vocal entries in just a couple of hours.
We had several days in Cologne, incorporating some vital shopping time, of course. One afternoon in the centre of Cologne, I came across a group of buskers. They were a ramshackle bunch, with the oddest collection of instruments – but what a fabulous noise! They played some virtuoso Bach and Vivaldi and I found it hugely uplifting. I could have stayed and listened to them all day. I bought their CD, which is of course dreadful – probably done on a old cassette Walkman in someone’s front room – but I didn’t care because I thought they were marvellous!
Anyway, back to Shelter. We were a little nervous at the first tutti rehearsal, as musikFabrik were old hands at this piece. We were very much the new girls, but the players were all absolutely delightful and supportive of our efforts. Shelter is a quasi-theatrical piece, involving 2 screens, various projections, lighting (mostly very dark!), and much moving around for the singers – around the players who are static in the middle of the stage. The original production team had been drafted in from the US, and Bob McGrath walked us round a mocked up stage in Cologne so that the changes between movements might be as seamless as possible.
Amy and Heather in Cologne
It was all marvellous in theory, but much of this preparation had to be abandoned once we got to the theatre in Strasbourg. Stage-left was impassable, due to a clutter of lights, wires, electronics etc. There were problems with lighting in other areas, and difficulties in seeing Peter. We did have a conductor monitor on the balcony, as Peter was often standing behind us, but when the front scrim came down, Peter looked like a blurred snowflake! Still, that’s what rehearsals are for!
(photo by Philippe Stirnweiss)
(photo by Philippe Stirnweiss)
Unfortunately, we were only able to rehearse on the day of the concert because the get-in took a bit longer than anticipated. We were kept seriously on our toes as everything was rejigged. Even during the show, in the wings, we were having to remind each other of what came next – where we were supposed to be, who was to lead on, and what our cue was. Happily we all made it to the end in one piece, and the audience was hugely enthusiastic.
And finally, the most important part of the tour – post gig drinks with the band. I’m amazed that it’s taken all these years for Synergy and musikFabrik to get together. This was a great team, and I look forward very much to our next collaboration.”
Micaela
Synergy represented by
Left to right: Micaela Haslam, Heather Cairncross, Amanda Morrison, Jenny Bacon
“A quick jaunt to Frankfurt for a run-through of Music for 18 with Ensemble Modern and Steve Reich at EM’s rehearsals studios, then off to Strasbourg by train. It was gorgeously sunny in both cities. I’ve never seen Frankfurt looking so good, and Strasbourg was positively baking.
Everyone was in good form, though Jenny was fighting off a lurgie. She managed to keep it at bay, largely by borrowing kettles at hotel receptions and inhaling steam. I was very grateful that she was alright on the night as I didn’t fancy singing soprano 1 – too many top B’s. Actually, it’s not so much those as the 2 patterns in sections 2 and 7 that seem to go on for ever – both set between E and top A. There’s nowhere to swallow, and you feel as though your larynx is going to self-combust if it doesn’t get out of that range!
Heather, Mandy and Jenny on arrival in Strasbourg
New development round the Cité
The Cité de la Musique in Strasbourg is relatively new and contains a very fine concert hall. It proved to be perfect for this piece – big enough, but not too resonant which would have made it a nightmare for Norbert (EM’s very lovely and brilliant sound engineer).
Rehearsing in the Cité
Boris on crucial marimba 3
Many congratulations were in the air after the concert, and I was very touched to hear Steve say, “you always play better when you play with friends”. He’s absolutely right!”
Micaela