Renaissance Reimagined
Photo credit Helen Wills
Renaissance Reimagined was the New Cambridge Singers’ flagship project for its 2016-17 season. Developed under its director Graham Walker, it combined superb fifteenth and sixteenth century masterworks with two exciting commissions inspired by the Renaissance – providing a cultural bridge that brought together professional musicians with talented amateurs, and reached out to audiences in new ways.
The year-long project culminated in two extraordinary concerts in April 2017: a sold out performance at Trinity College Chapel, Cambridge and another at St James’s Church, Sussex Gardens, London, in partnership with the Brandenburg Choral Festival of London.
The year-long project culminated in two extraordinary concerts in April 2017: a sold out performance at Trinity College Chapel, Cambridge and another at St James’s Church, Sussex Gardens, London, in partnership with the Brandenburg Choral Festival of London.
Paul Newton-Jackson
At the heart of this amazing project is Everybloom - taking words from Ulysses, this piece, written for choir, soloist and viol consort by distinguished composer Giles Swyane, is an exhilarating glimpse into James Joyce’s stream of consciousness; the music capturing the puns, parodies and characters of this extraordinary work.
This important new commission was heard alongside Then the angel showed me the river… - the winning work from the first ever composition competition held by NCS. The winning composer, Paul Newton-Jackson, was a young New Zealander studying music at the University of Cambridge. His work was selected from 50 entries from amateurs and professionals around the world with composers ranging in age from 19 to 90! This winning piece was scored for choir, Renaissance brass consort and an audience chorus, who also sang Tallis’ famous canon Glory to thee, my God, this night at both concerts, thereby sharing the choir’s experience in making music old and new.
In preparation for the concerts in April 2017, NCS also held an Open Rehearsal for Everybloom in Cambridge with composer Giles Swayne. Members of the public, students and other musicians were given the chance to hear a new work in the process of rehearsal, and to meet and chat with Giles who also talked about his piece. This event also gave participants the opportunity to have a better understanding and deeper insight to the new commission as well as familiarise themselves with it before the world première.
Below are video clips from the Open Rehearsal as well as our concert in London. It was a truly special project for us and we hope you enjoy watching them!
This important new commission was heard alongside Then the angel showed me the river… - the winning work from the first ever composition competition held by NCS. The winning composer, Paul Newton-Jackson, was a young New Zealander studying music at the University of Cambridge. His work was selected from 50 entries from amateurs and professionals around the world with composers ranging in age from 19 to 90! This winning piece was scored for choir, Renaissance brass consort and an audience chorus, who also sang Tallis’ famous canon Glory to thee, my God, this night at both concerts, thereby sharing the choir’s experience in making music old and new.
In preparation for the concerts in April 2017, NCS also held an Open Rehearsal for Everybloom in Cambridge with composer Giles Swayne. Members of the public, students and other musicians were given the chance to hear a new work in the process of rehearsal, and to meet and chat with Giles who also talked about his piece. This event also gave participants the opportunity to have a better understanding and deeper insight to the new commission as well as familiarise themselves with it before the world première.
Below are video clips from the Open Rehearsal as well as our concert in London. It was a truly special project for us and we hope you enjoy watching them!
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"I was delighted that [Everybloom] had such a powerful impact, [it] felt as if I was addressing both an audience and performers who speak my own language – like conversing with old friends who understand what you are trying to say. It’s a rare and special experience for a composer."
April 2017 |
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Audience quotes following the concert:
“This was an outstandingly interesting programme, performed outstandingly well. I would have found it hard to tell by listening that the performers were not one of the well-known professional groups specializing in Renaissance music and the inclusion of two contemporary works and the audience participation made it an especially rewarding evening.” “Quality of ensemble, inclusion of contemporary CLASSICAL music and interesting programme of beautiful music. This is quality live music by real musicians, amateur and professional.” |
About Giles Swayne
Giles Swayne leapt to prominence in 1980 with the performance of CRY; written for 28 amplified voices, it is still regarded as a landmark work. Other more recent choral works have given him the reputation of being one of the most innovative writers for choirs. The Silent Land, for cello and 40-part choir, was premièred by the Choir of Clare College under Tim Brown; HAVOC was given its first performance at the BBC Proms by the BBC Singers under Stephen Cleobury, after which the Independent commented “Swayne is a master”.
Read this article by Robert Hugill who interviewed Giles and our conductor in advance of our Everybloom concert.
Giles Swayne leapt to prominence in 1980 with the performance of CRY; written for 28 amplified voices, it is still regarded as a landmark work. Other more recent choral works have given him the reputation of being one of the most innovative writers for choirs. The Silent Land, for cello and 40-part choir, was premièred by the Choir of Clare College under Tim Brown; HAVOC was given its first performance at the BBC Proms by the BBC Singers under Stephen Cleobury, after which the Independent commented “Swayne is a master”.
Read this article by Robert Hugill who interviewed Giles and our conductor in advance of our Everybloom concert.
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Renaissance Reimagined was made possible by grants from Arts Council England's Grants for the Arts and the RVW Trust, and by contributions to our New Music Fund and the New Cambridge Songs Scheme
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