Joanna MacGregor credit-Pal-Hansen
Coffee Concert Livestream from Brighton Dome – “Purcell to Piazzolla”. Joanna MacGregor (piano) & Brighton Philharmonic Chamber Ensemble: Thomas Gould and Kathy Shave violins, Sascha Bota viola, Peter Adams cello, Stephen Warner double bass.
Bach, Concerto in F minor BWV 1056 (1738; solo piano, string quartet)
Mozart, Three Fugues after Bach K.405 (1782; string quartet)
Arvo Pärt, Fratres (1977; Gould violin, piano)
Piazzolla (1921-92) arr. MacGregor, Three Tangos – Michaelangelo 70, Milonga del Angel, Libertango (piano, all strings)
Purcell arr. Britten, Chacony in G minor (original c. 1678, arr. revised 1963; for string quartet)
Vaughan Williams, Piano Quintet in C minor (rev 1905; piano, Gould violin, viola, cello, bass).
Anna Meredith
Few artists straddle the line between classical and electronic music with as much success as Anna Meredith. We talk to her about the creation of her recent Mercury‑nominated album.
How does a composer with an open disregard for the fetishism of synthesizers go about creating an album that is as dependent on its hypnotic electronics as it is on classical instrumentation? For London‑born, Scotland‑raised Anna Meredith MBE, the musical success of Mercury‑nominated second album FIBS was never going to hinge on a specific choice of sequencer or the hunting down of any ‘must‑have’ legacy synth. “I am a bodger,” Meredith warns me with a laugh as we, along with guitarist and producer Jack Ross, sit in the quad of London’s Somerset House, which also happens to be the location of her studio. “I’m not a compositional bodger, but I am a bodger with some of this stuff!”