Our Surge Orchestra gig at mac was a huge success with a very heartening turn out. Feeling fully inspired and optimistic about the future of Surge as an established Birmingham ensemble. Plans are afoot. Here’s a couple of reviews of the gig that gives you more info on the set we played. Surge Orchestra review at Jazz Mann and Surge Orchestra review at Jazz Breakfast .Huge thanks to all at mac, Arts Council England, Feeney Trust, Peter Bacon PR, Garry Corbett, everyone who came and all the people who have helped out in various ways. Finally, the biggest thanks of all to the wonderful and talented musicians of Surge!
So, I have been back in Birmingham since 18th June. My flight back from Chengdu was quite an emotional one, perhaps partly brought on by the free beer. Having set up a random listening list on the in flight entertainment I wondered what I would touch down to in London. As we glided over London it seemed it was going to be Curtis Mayfield’s Superfly. That would have been cool but it finished just moments before landing to be followed by Vaughan William’s Lark Ascending, very nice moment.
As mentioned in previous posts my main host in Chongqing was the Sichuan Opera Troupe. On the 11th June we put on a big performance to celebrate the residency and relations between the British Council and the Opera. It was some show and I think I had my picture taken more times in that day than I’ve had this entire year so far.
As you can see in the gallery below the entire troupe did an impressive show involving all their musicians, costumes, dancers and singers. I had to follow this and was a bit apprehensive to be fair but there was never a feeling of oneupmanship or competition. Everybody there was genuinely enthusiastic and the atmosphere was very encouraging.
I had worked with seven musicians from the Opera and a local bass player. I need to double check all their names and will post them up soon. We did quite an experimental version of Red is the Rose, a new piece I had composed for them simply titled Sichuan and then some arrangements of their tunes Chinese Flowers and Open a Little Door. The music had all come together very quickly and rehearsals initially proved a bit difficult with communication and so on. By the end however we were running the rehearsals without a translator, perfectly understanding each other without having to do much talking.
I was presented with an Honorary Certificate making me an Ambassador for Sichuan Opera. I guess the extent as to how serious this is depends on me and what I give to it. There really is a lot for us to learn about Chinese music and how we can collaborate with it. There is a serious misconception in some parts that Chinese music is simplistic and very easy listening. Hopefully, in a small way.I can challenge that misconception and inspire more people to engage with music that can be as challenging as it is soothing.
It was a perfect day. Everybody had a great time except perhaps for the translator who couldn’t get my way of talking and had to be replaced by Joanne from the British Council. I plan to arrange Chinese Flowers for the Surge Orchestra to be performed in Feb 2015 at the mac in Birmingham. It would be a nice Chinese new years gift to be able to send to the Troupe.
Still a bit more to post on my trip to Chongqing to include thanks and future plans. Other projects are under way at the moment including an experimental exploration of Irish trad and the very creative mac youth group (who hopefully will soon be called the Rea Roots Orchestra.)
Thanks and check back soon.
I write poetry because this morning I woke trembling with fear what could I say in China?
from “Improvisation in Beijing” by Allen Ginsberg
I have discovered that on 8th November 1985 Allen Ginsberg landed in Chongqing! If “Howl” has been recited here before it was by Ginsberg himself.
So far the only info I have is this link to an article by Liang Shan Quan describing his visit. I hope to somehow locate it when I get home and learn more about his trip to China.
My head is spinning with this…
Many thanks for continuing to check out my blog and apologies for my delay in posting. The last two weeks got incredibly busy with rehearsals, meetings and gigs. Add to that an unsympathetic internet service and posting has proved near impossible.
There is much I want to update and add to, especially the Sisyphe post, and will do so at a later date but for now I will post the highlights of the past few days.
Yinzi Gallery is a black box theatre run by Huyin and her husband in the arts district of Chongqing. It is an excellent space and they have a commitment to experimental arts. They invited me to present a concert there with a young local pianist called Zhou Xiaoshan.
We had been incredibly busy with other things and I was a bit concerned about having the energy and time for what was an addition to our existing schedule. The results however were fantastic and it proved to be a significant highlight of my residency.
The ensemble included Zhou Xiaoshen – piano, Kong Wenjing – guzheng, Wu Yan – erhu, Zhao Lan – dizi, Li Yunliang – saxophone and Max on drums. Guess where Max is from? Birmingham! That really was a pleasant surprise. He is in Chongqing playing drums, teaching yoga and exemplifying all the warm and friendly qualities that make up the Brummy personality. A great ambassador for Birmingham.
In our rehearsal we put together a piece with riffs, solos, spoken word and group improvised textures. It lasted about 12 minutes and for the text I decided to use excerpts from Allen Ginsberg’s “Howl”. For not entirely artistic reasons I worried about this choice. (read between the lines here). I also don’t want to increase the Sisyphean struggle of anybody else but ultimately I felt it was the right choice and continued.
And…. in a magical way and true to the spirit of Ginsberg the interconnectedness of all things carried us to the starry dynamo in the machinery of night. Huyin named the event “City Variations” which seemed particularly apt. The event itself was held on 8th June, the anniversary of the writing of ”Dream Record” where Ginsberg experimented with a syntactic subversion of meaning called parataxis, a technique that would become central in “Howl”.
The musicians opened up and embraced free improvisation..Kong Wenjing said after “I was faced with this challenge and had to decide if I could do it or not, I decided I could.”. Zhou Xiashen sent me a message saying, “Thank you for helping us to play wildly”. Whilst I perhaps enabled I have to say that the musicians played as if they had always played this way, they dazzled. Zhou Xiashen in particular went wild as I recited “Howl” thrashing out clusters and owning the keyboard. As we settled down I swear for a moment he played the Victor Jara tune that Steve Tromans plays at the end of his “Howl” project.
As well as “Howl” we performed an hours set of Irish songs, solo spots and were at the end joined by my very good friend and Chiba player Jialin. A perfect end to a perfect evening. I give my thanks to all Huyin and Yinzi theatre, all the great musicians and Allen Ginsberg.
Apologies if there are errors of any sort in this post. Time is running out and I want to communicate it whilst still here. Will sort out edits later.
Before I came to Chongqing I searched the internet to find out what I could about the Sichuan Opera and the Chongqing Troupe. good quality video proved difficult to find on youtube and vimeo but there were many good images. These were mainly of masked performers and the wonderfully elaborate costumes. Due partly to the limited amount of images no individuals in particular stood out or were memorable with the exception of this lady on the left.
This is Shen Tiemei (pronounced Tia May), performer and director of the Chongqing Sichuan opera Troupe. When I arrived at the Opera House for the first time Tiemie and the troupe were away. As I was shown around the museum I soon noticed that her picture is everywhere and that she is a very important person. Eventually I learnt she was the director and I would be meeting her very soon. Somehow my pre-discovery of Tiemie on the internet, her high position and the further wait of another week to meet her started to make me very nervous. When I did meet her in her office, which is very plush, I felt like a school kid going to meet the principl for the first time. Tiemei doesn’t speak english and our translator was Peter, an admin staff member from the troupe. Peter and I get on great but I’m pretty sure he doesn’t understand me at the best of times so I’m not too sure what I communicated to Tiemie in that first meeting but it all seemed very positive.
Then Tiemei stood up and Peter said “You will go and see the theatre!” and off we set at a determined pace. Thinking I had seen the theatre already I figured I would nod and go “oh yes” politely. But Peter disappeared and Tiemei led me through doors and into an area that looked like the backstage of Birmingham’s Symphony Hall. On we went through various doors passing large staging and double bass cases amongst others things until we arrived into a very large theatre. I had been in Opera House for a week and had no idea this existed. Rehearsals were under way and Mr Liu was leading the full band in the pit. It sounded more modern than the traditional opera I had heard downtown and there were some very western style orchestrations. The orchestra was augmented with cello and double bass. Tiemei gestured to me to sit down, smiled and then began rehearsing with the troupe. It was a very impressive move from the office to the theatre and rehearsal.
As with Mr Liu it is very evident that Tiemie is a talented and passionate performer. The opera is her life and I wondered if it her journey had not been without it’s difficulties. The present setting of the Opera House and Tiemei’s growing international reputation certainly seem very comfortable and rewarding. She has performed in The Lincoln Centre and conducted a 27 city tour of France. But I doubted it had always been easy in a modernising society. I found this article from 2007 on China.org.cn that shed a bit of further light and confirmed a bit of what I thought. It is also reminded me that, as with the theatre, there is only so much I can know whilst I am here and the bigger stories will likely elude me.