What's on? | Featured events
The Braeside Singers and friends come together to celebrate the Christmas season with a selection of old and new Christmas tunes. Join in with the choir in singing a festive introduction into the winter holidays!
Last years concert was packed! Get your tickets early! Music Director Jane Murray tries to include something for everyone in the programme, and this time will be no exception.
Our guest instrumentalist will be Laura Smith on Clarinet. Guest Conductor is Tobias Patrick Wolf.
The University of Aberdeen’s Choral Society and Symphony Orchestra present Vaughan Williams masterwork Dona Nobis Placem alongside his Songs of Travel, sung by Ross Cumming, and a world première of a work by Scott Bathgate.
The Good Friday concert at the Winspear centre, Edmonton, Canada, has been a tradition for decades. Joined by the Da Camera Singers (director John Brough) and fifteen wind players, Pro Coro Canada will perform the magnificent Mass in E-minor by Anton Bruckner, as well as a newly commissioned work by Uģis Prauliņš.
Tucked in between the Lake District and the Pennines, the ‘Eden Valley’ is the perfect holiday location with a large range of courses and events on offer. For their annual Choral Weekend which began life in 2006, they welcome singers from all over the UK. This year’s course will be lead by conductor Tobias Patrick Wolf.
Archive | Featured past events
Music Director Jane Murray tries to include something for everyone in the programme, and this time will be no exception. Join this year’s Christmas concert in Kirkton of Skene with Guest Conductor Tobias Patrick Wolf.
Join the University of Aberdeen Choral Society in St Machar’s Cathedral for its first concert of the year, drawing on the French repertoire including Poulenc’s magnificent Gloria.
In this year’s autumn concert The King’s present a number of world premieres, including a composition by Mike Merrill, PhD candidate at the University of Aberdeen, alongside challenging repertoire of German composers.
For one night only the Beach Ballroom comes alive to the sound of an amateur choir competition, Hosted by Fiona Kennedy. Guest Judges include Paul Mealor and Dr Roger Williams, a truly amazing evening not to be missed with all proceeds benefiting the local vulnerable people supported by VSA.
Players of The King's Philharmonic Wind Orchestra present a collection of Solo Features for Voice (Baritone), Violin and Wind Orchestra, commissioned compositions, as well as wind orchestra originals in their Winter Concert "ABENDMOND" at the University of Aberdeen.
The joint forces of the two largest ensembles at the University of Aberdeen, the UoA Symphony Orchestra and the UoA Choral Society, perform Orff’s masterwork Carmina Burana.
Performance | Recordings
The University of Aberdeen Chamber Choir:
Under the direction of Paul Mealor, the University of Aberdeen Chamber Choir performs fresh new arrangements of songs by Burns made by the University’s staff and students, along with guest contributions from Robert Lovie, Jillian Bain Christie and fiddler Raemond Jappy. Celebrate Burns night in style!
The CD is for sale on both Amazon and iTunes, and all proceeds from the Sale of Immortal Memory: A Burns Night Celebration go to the relief efforts in Ballater, Scotland, which was recently devastated by flooding.
Compositions | Featured Works
For centuries the idea of a message in a bottle has inspired generations of poets, writers, artists to bring mysterious and intriguing love stories to life. This composition takes the listener on the journey of such a message, but not less mysterious, it follows the story of the sender too. If I wrote a letter, stuck it into a bottle and threw it into the ocean, I’d ask myself ‘What is the journey of this bottle? Where does it go?’ — In our dreams, this bottle can wander through time, to places all over the world, it can visit the deeps of the ocean, pass by creatures of our imagination. Just to find out it will be another rainy day when we wake up, another day waiting for that unlikely reply that we are so desperately waiting for.
This work caricatures the process of rehearsing a new work, and performing it to an audience. The sections with free tempo as well as instructions in the score leave a lot of room for an expressive performance, overexaggerating the habits and stereotypes of instrumentalists. Extended techniques such as nail pizzicati, blowing air through the flute, or foot stomping help to achieve a comical effect.
In this set of three works that the author describes as a poetic triangle, the same situation is told from three perspectives. Calantha (No. 1) makes space for her frustration about her husband, Lord Byron, who in Chartered Love (No. 3) presents his depressed emotional view on the matter, while their dog (A London Hound, No. 2) seems to register some issues with the couple but - given his nature being an animal - playfully and easy-minded explores the city of London, reflecting the circumstances, loyal to both.
This is a very sinister interpretation of Paul Verlaine's famous poem Chanson d'automne from his first collection Poèmes saturniens, and more specifically from the Payasages tristes, 'Sad landscapes'. It is reflecting on the poem's use for the invasion of Normandy in World War II, therefore using the dark and foreboding character of the E Phrygian mode.
Written for only two instruments, this piece makes use of distinct rythms in both parts to suggest the imagery of a train ride. This work's aim is to explore the different timbres of the instruments registers. From making use of the clarinet's deep and mysterious sound colour in its chalumeau register, to a pale and fuzzy sounding throat, a bright clarino register to an almost flute-like quality in the altissimo register that seems to be the most perfect match to its the duet partner.
Although generally written with a simple tonal structure (F minor), this work's harmonies reflect tension and emotion in the poem. This work explores different textures in its sections to underline what is given in the text. The melody was closely composed to the text, its contour follows the content of the text, its climaxes underline the most important and most emotional text passages.
This work makes use of unfamiliar playing techniques (i.e. deconstructing the instrument, singing and playing simulaneously, the use of mutes, half valves, hand vibrato, blowing air through the instrument, as well as creating percussive sounds while playing). In doing so, the piece explores a wide range of new timbres and rhythms that may seem uncommon for both players and the recipient
The ambiguity of used chords and recurring chord progressions in a transposed form, will make it impossible for the recipient to identify a tonal structure following common harmonic combinations. Performing this piece at a space with long reverberation will exagurate its texture.