Domino is proud to present Henryk Górecki: Symphony No. 3 (Symphony of Sorrowful Songs) performed by Beth Gibbons and the Polish National Radio Symphony Orchestra, conducted by Krzysztof Penderecki. The performance took place at The National Opera Grand Theatre in Warsaw on November 29th 2014. In advance of the concert, Beth Gibbons undertook an intense preparation process, including tackling the challenge of learning the original text (and the emotional weight it carries) without speaking the mother language.
On 07, Aug 2018 | In Live Performance | By johnminton
Simple Minds will play 14 special Grandslam dates with The Pretenders & KT Tunstall in the UK in August & September 2018. Global icons Simple Minds and The Pretenders continue to enjoy outstanding musical journeys and phenomenal worldwide success. They now come together on the same stage for the first time since Live Aid to present a unique opportunity to see both bands as they tour throughout the UK in 2018.
Images by ConcertPhotographersUnited
For this special event they team up with award-winning, long-time GTB and Portishead collaborator John Minton to produce a film which examines and celebrates over a century of Bristol, captured on film by local people.
If last year’s Metropolis was an epic expressionist vision of dystopia, Bristopolis offers an intimate contemporary parallel: a poetic visual essay and an abstract urban history, using archive footage filtered through John Minton’s creative vision, and organically wedded to one of Bristol’s most famous jazz exports – the inventive, uncategorisable Get The Blessing.
On 24, Sep 2017 | In Live Performance | By johnminton
The work is performed by The Will Gregory Moog Ensemble, which counts members from three influential Bristol bands: Goldfrapp, Massive Attack and Portishead.
Fans of Stanley Kubrick’s masterpiece ‘A Clockwork Orange’ and Wendy Carlos’ accompanying and visionary score can be delighted when Jazzhouse houses The Will Gregory Moog Ensemble’s interpretation of Carlos’s synthesized music.
“We are all huge Kubrick fans,” says Will Gregory, the man behind The Moog Ensemble . “He is the film director who has contributed most to our work. His ability to incorporate avant-garde music into his virtuoso visual style is absolutely outstanding. “
Will Gregory is known from his orchestra Goldfrapp , where he, as a composer, is behind the charismatic singer Alison Goldfrapp. The musical performance of ‘A Clockwork Orange’ is accompanied by a visual composition by John Minton, a regular part of Portishead , and the members of The Moog Ensemble have the same contact and access to the composer Wendy Carlos, who has not been shown publicly. since the start of the 80′s.
The concert is part of the Kubrick Festival 2017, which culminates the same weekend where Stanley Kubrick: The Exhibition opens on GL. BEACH. For the same reason, Kubrick’s family will be present at the concert.
‘A Clockwork Orange – Stanley Kubrick In Concert’ is presented by Jazzhouse, CPH PIX, SNYK and art FREQ with support from the Nordea Foundation.
On 18, Jul 2017 | In Live Performance | By johnminton
Technology meets tradition as cutting edge live electronica and digital technologies combine with the traditional sounds of Punjab.
Mercury nominated electronic music producer Swami joins forces with Punjabi folk musicians to create an innovative musical and visual experience, combining cutting edge electronic beats with the raw energetic DNA of Punjab.
Part of Reimagine India 2017
PunjabTronix is a new project produced and commissioned by Asian Arts Agency in partnership with Watershed, Bristol, to respond to Reimagine India 2017, a cultural exchange programme designed to develop creative collaborations between artists from England and India.
PunjabTronix is funded by Reimagine India and is part of UK/India Year of Culture 2017 and the 70th anniversary celebrations of the Independence of India.
Supported by Arts Council England and British Council.
Batkovic presents a holism in his music that draws on the full capabilities of the instrument. This is reflected in quite a staggering range of pitch, volume and timbre that the instrument is able to produce, something that Batkovic exposes gloriously for the first time ever.
However there are also subtleties in the production of the album that also make it a technical and aesthetic triumph. Batkovic wanted to translate the true sound of the accordion for the audience, in terms of representing exactly the way it sounds to him while he’s performing.
It took over a year to solve the problems regarding the audio engineering of the album, but this now means that the stereo image opens up a whole new sonic spatiality, immersing the listener in a vivid and intricate sound-space.
“I wanted all of the instruments breathing, air noises and the sounds of flapping of claps to be audible. So the handicaps of the accordion can be transformed into benefits, creating a new sound”