Romantic words and music for Valentine’s Day

Download song text translations here

mccaldin artsMcCaldin Arts’ first performance of the year is at 3pm on Sunday 14 February. Created especially by writer Di Sherlock, this hour-long event combines poems by WB Yeats with the songs of Schumann and Wagner in a seamless conversation between words and music, performed by Clare McCaldin (mezzo) with Libby Burgess (piano) and Di Sherlock (reader).

2016 is the 100th anniversary of the Easter Rising, so there’s likely to be much made this year of Yeats’ Irish nationalism. We wanted to explore something rather different with this programme, which reflects on nineteenth-century Romantic notions of Love and Beauty.

Frauenlieben und -leben and the Wesendonck Lieder are interleaved with poems from throughout Yeats’ life, including Prayer for my Daughter, Wild Swans at Coole and When You Are Old, plus sung settings of The Salley Gardens and The Cloths of Heaven.

The concert is at St Paul’s Church, 32a Wilton Pl, London SW1X 8SH.

Tickets £10 (£5 concessions) on the door.

Plans for 2016

The new year is starting with a buzz of activity at McCaldin Arts, dusting off existing projects for performance and preparing the ground for new work.

Haydn’s London Ladies has grown from an hour-long to a two-part presentation with interval and is getting a first performance in this new version at the Swindon Recital Series on 7 Feb. Enlarging the recital has enabled us to bring in a fifth Lady, Emma Hamilton, whose story justifies a whole show in itself, and to introduce some extra music. As well as excerpts from less-known pieces such as The Battle of the Nile, we will also perform the cantata Arianna a Naxos, a piece of which Emma Hamilton sang with Haydn at the keyboard.

We eagerly anticipate the release of Clare’s new solo CD with Libby BurgessNotes from the Asylum – which is due out any day now. Read more about the project here.

New songs are in the pipeline from Rob Keeley and Toby Young, as well as longer-term projects in development with Martin Ward and Martin Bussey.

We are also pleased to announce our involvement with a new charitable organisation – New Notes & Noises – which will be helping us to develop and present new work in the future. There will be more information on this over the next few weeks.

Happy Christmas

clare mccaldin

Clare performing at a Christmas concert at Leighton House earlier this month

Thank you for following me and my work both here and on my personal website. It’s been a busy year of new and exciting work. The promise of 2016 is, if anything, even exotic and demanding.

You can read back over my previous Newsletters by going to the dedicated page.

Have a peaceful Christmas break and a prosperous New Year.

Conference Call

Clare McCaldin & Toby Young at UCLThis summer’s exploratory project with composer Toby Young and the dancers Estela Merlos and Thomasin Gülgeç has had an extended life, in the form of a joint paper delivered by Toby and me at a recent conference.

We made a twenty-minute presentation on Discourses of metaphor and gesture: towards a collaborative language as part of the day organised by the UCL Institute of Education. The overall conference title was Music and movement as process and experience and, as the event was hosted by the Royal Academy of Dance, a significant portion of the audience were teachers of dance and those in development as teachers.

The day revealed a wide and interesting range of philosophical approaches to the experience of dance as well as the process of making, and examined the important issue of how dancers and musicians communicate.

 

 

Towards a new language

FullSizeRenderLast week I worked with composer Toby Young and two dancer-choreographers, Estela Merlos and Thomasin Gülgeç to develop a new multi-media work from scratch. Thanks to the generosity of the Rambert company – with whom Estela and Thom previously danced – we based ourselves in a studio at Rambert’s spacious new home on the South Bank.

This was the first time that the four of us had worked together as a group. We carried equal weight as creative decision-makers, which was a first for me. As a singer I am still far more used to being handed a completed score at the end of the process, rather than encouraged to contribute to the thought and structure underpinning a piece. I found it challenging and rewarding to have to think in this way.

We had an agreed starting-point; the experience of being physically “locked in”, as described by Jean-Dominique Bauby in his memoir, The Diving-Bell & the Butterfly. We were keen to avoid literal narration or illustration; however, the immobility and the psychogical experience reported by Bauby, as well as by the rare souls who have recovered from being locked in, suggested themes around stasis, flesh, interior landscape, hallucination and memory. Memories overlap in the locked-in experience with hallucinations (constructed memories in some sense), erupting into the patient’s awareness and then abruptly vanishing. Through these ideas we also found ourselves circling back to a preliminary discussion about Camillo’s Theatre of Memory and the location of memories in physical space.

Estela Merlos, Thomasin Gulgec & Clare McCaldinA fundamental challenge for us has been to learn to understand each others’ terms of reference and, particularly, use of metaphor in relation to the work. Our creative starting-point was the same but once we start talking about abstractions, we came up against differences in the way we exploit metaphor creatively. This has been one of the most fascinating discoveries of our work together and our learning to communicate about this directly mirrored the search for a new language at the heart of the piece itself.

For example, the idea of a cave can represent any number of things metaphorically and, in a literal sense, might have suggested a way to think about the performing area. As an impetus for devising, ‘cave’ was something around whose many associations Estela and Thom could improvise as a way of generating choregraphic material. The idea ‘cave’ therefore not only generates, but also comes to signify, a created phrase or section. The noun becomes shorthand for that whole sequence and part of the map in the dancers’ heads that enables them to memorise their material. We non-dancers realised that the cave idea is not necessarily indicative of a scenario within the piece but is part of the chain of images forming the road-map for the dance, independent of a phrase’s technical ‘grammar’, which may continue to be tweaked for greater beauty or clarity.

Estela Merlos, Thomasin Gulgec & Clare McCaldinThe question of what overall shape the piece should take emerged relatively early, not least because Toby and I agreed that we like working within some kind of musical limits. Assessing and editing the quality of our own work was straightforward enough, but critiquing our colleagues’ work was much more challenging. The sheer beauty of what they do is undeniable but how do we know how good it is? As we ‘got our eye in’ over the course of the week and began to read the structure of their choreography more clearly, we felt more confident to offer our opinion. I suspect Estela and Thom may have had a similar experience with our musical offerings.

In the end, the piece comprised four sections: Rebirth – Animal – Immoveable – New Paths. Toby also proposed the idea of the madrigal – several different lines voicing a common experience – as an analogue for different kinds of inner voices, memories and hallucinations. Having settled on this, we immediately access to a classical language of imitation, ornamentation and vocal gesture that could be mixed with a the more modern forms of Drum & Bass. Toby still roughed out ideas on the piano as we improvised, but the laptop became a key tool to source, sample and mix sounds on the spot, including a heartbeat and electronic tones suggested by the worlds being explored.

Multi-tracking my voice on the three lines of the madrigal opened up options for me to sing live with myself or to participate in the choreography. We were all keen to explore whether we could cross even partially into each others’ territory. Estela and Thom sang a bit and I danced a bit. I can confirm that it’s not easy to move so fluently!

Estela Merlos, Thomasin Gulgec & Clare McCaldin Finally, how to finish the piece? We wanted to make a positive statement. Reports differ on the positive and negative emotions experienced by those who are locked in, but we didn’t want the experience of watching our work to leave people feeling hopeless about the subject. New Paths developed in part from Bauby’s description of “beginning to forge glorious substitute destinies for myself”. In the imagination one can experience the ecstatic freedom that is denied by the body’s actual immobility. Within the piece, this justified my move from the edge of the stage to full participation in the dance and was supported by a climactic build in the music. The rightness of this creative decision was bourne out by comments from our invited audience, with whom we discussed the piece after we had performed it.

 

Haydn’s London Ladies: Mark II

Haydn’s London Ladies started life as an hour-long narrated recital in which I told stories of Haydn’s visits to London and his Lady friends. It has had fantastic reactions from audiences, which have really enjoyed the storytelling format as well as the musical content, so I have decided to expand it into a full-length evening, with an interval.

Doing this allows me to add the story of another wonderful Lady; she was not strictly-speaking IN London when she met Haydn, but was very definitely a London Lady. Emma Hamilton was not only the mistress of Lord Nelson but also pioneered her own brand of performance art which precipitated a fashion craze for draped Grecian-style gowns. Most of all, she was an extraordinary survivor. She loved Haydn’s music and sang some of his vocal works, including Arianna a Naxos when she, her husband Lord Hamilton and Lord Nelson visited Haydn at Esterházy.

A performance of the new full-length Haydn’s London Ladies is in the diary for February 2016 and if you can’t wait until then, here is a trailer:

Build it!

mccaldinarts_sem05Today we held our new seminar, Building Your Online Presence designed to offer practical help and advice to anyone wanting to be more in control of their information on the web.

I firmly believe that a website is no longer optional if we want to be taken seriously as music professionals, whether teachers or performers. A website is critical as a source of up-to-the-minute information about us when so much online data remains in perpetuity to be discovered by search engines even if it is long out of date. As an extension to this, social media platforms provide us with easy ways to integrate our communications and reach a range of different audiences. In this way we can support marketing activities carried out by organisations we work with and generate an independent following for other kinds of self-generated and collaborative projects.

It’s now pretty straightforward to create and maintain a high-quality site using no-cost tools available online. As we showed this afternoon, the site-building technology has been transformed in the last few years (perhaps in response to ‘intuitive’ software developed as apps for smartphones) and is really accessible to anyone with a couple of hours to devote to it.

Happy attendees all went home smiling – and with a website. Job done.

TS Eliot and Vivienne in 2015

On the eve of this new year I have paused to consider that 2015 is the 100th anniversary year of TS Eliot’s marriage to his first wife Vivienne Haigh-Wood – and the 50th anniversary of the poet’s death.

Vivienne’s life and relationship with Eliot were the subject of my successful staged cycle of songs in 2013, called Vivienne. I was subsequently invited to perform the cycle of Stephen McNeff’s settings of Andy Rashleigh’s lyrics at the 9th TS Eliot Society Festival in Little Gidding. (McNeff and Rashleigh already have form working on TS Eliot, having written a musical version of The Wasteland for the Donmar in 1994.)

I intend to give a performance of the piece around the time of the anniversary of Tom and Vivienne’s wedding on 26 June 2015. Plans are also well advanced for a recording of the cycle with pianist Libby Burgess, in a programme I have chosen around related themes. More news on this in the next few weeks.

The BBC is to mark the anniversary of TS Eliot’s death on 4th January with a programme of readings and music on Radio 3 from 5.30pm. Eliot is among the three most quoted poets in the English language and I’m looking forward to seeing and hearing other peoples’ artistic responses to his work throughout 2015.

A London plaque for Joseph Haydn

plaqueFINALThis autumn I have been fronting the campaign to put up a plaque in London to the composer Joseph Haydn. Despite his enormous contribution to London’s musical life and two long visits to the city at the end of the eighteenth century, there is no permanent memorial to him here.

As there is no original building that can support a plaque (and thus qualify for English Heritage consideration), a small team from the Haydn Society of Great Britain has worked to obtain the required permissions relating to the building that now stands at 18 Great Pulteney St. This is the site where Haydn lived when he first arrived in London in January 1791, as recorded in a letter he wrote to Maria Anna von Genzinger.

We have exceeded our crowdfunding target for the costs of the plaque’s manufacture and installation and, in the process of fundraising, we have also opened a wonderful dialogue with Haydn fans across the world. We have talked to people from as far afield as the USA and Japan about their favourite works by Haydn and why they feel he is still not as popular as his contemporaries Mozart and Beethoven. This highly unscientific survey will be summarised next year in an article for the Haydn Society.

The exact date of the plaque unveiling has yet to be confirmed. The hope is that the plaque will be in place in Spring 2015 and London will finally have its first memorial to a composer who was such an important part of its cultural heritage.

For more information about the campaign and research into the plaque’s position, go to The Haydn Society of Great Britain and Kickstarter.

Haydn better than paracetamol – it’s official!

imagesThis week Radio 3’s breakfast show quoted a recent poll of 1,000 people, in which nearly 90% of respondents agreed that listening to music can make them “feel perkier when they are sick or faced with hard times”. Queen’s Bohemian Rhapsody was the winner in the original poll, which makes a certain amount of sense. However Radio 3 listeners called in with their own classical suggestions and I was delighted to find that Haydn is cited by many as their favourite musical ‘pick-me-up’.

It’s hardly surprising, considering the energy of so many of his symphonies and string quartets, as well as the sheer joyfulness of his music. But, in the week that the Haydn Society of Great Britain launches a fundraising campaign to put up a plaque to Haydn in London, it’s reassuring to be reminded that his music is still cherished by music-lovers across the country.

It’s something of a surprise that there isn’t already a plaque, given the extent of Haydn’s celebrity when he was here in the 1790s and the quality of the music specifically written for the London audience. Charles Burney, the great critic of the day, recorded the excitement surrounding composer’s first public appearance:

“Haydn himself presided at the piano-forte; and the sight of that renowned composer so electrified the audience, as to excite an attention and a pleasure superior to any that had ever been caused by instrumental music in England.”

How can such a man not deserve to be commemorated?

Haydn Plaque gif

If you want to get involved with the Haydn Society’s plaque campaign or donate online, click here

More information about the campaign is available on the Haydn Society’s website.