JAM versus Red Note

Classical music, despite frequently being tied to the concert hall and contrasted unfavorably with the dynamism of rock and pop, continues in rude health. After the minimalists introduced the urgent pulse of urban life during the 1960s, and the experiments of the serialists re-imagined the possibilities of discord and melody, contemporary composers and ensembles have risen to the challenge to create music that reflects modernity in a manner more poetic and vibrant than most pop musicians can imagine. Less trapped by an industry more concerned with product than process, and encouraged to experiment on a broader scale, contemporary classical music can draw on rich traditions without sacrificing the advances of technology.

Red Note Ensemble have been increasingly eclectic in their projects: in the last year, they have been part of a scatological opera (Pass The Spoon), revived a Philip Glass monodrama and gone east for some Bollywood bongo bashing. Currently collaborating with JAM, they are heading out across Scotland with a mixed bill of scores from now and the 1700s.

JAM ( The John Armitage Memorial) has been in effect since the start of the century. Although they have a commitment to "nurturing, commissioning, promoting and performing new music in the UK," they are cautious to pair new work with established compositions. Recognising that audience might be intimidated by the idea of contemporary classical music (astronomer, xylophonist and dubious political commentator Patrick Moore dismissed it all as "squeaky gate music" on his popular Sky At Night show, preferring to listen to recordings taken from deep space or Einstein banging out a number on the piano), they present freshly commissioned score next to something more familiar.

This tour has a triple threat: Pergolesi, Judith Bingham and Philip Cooke. Because of JAM's origins in the musical enthusiasms of John Armitage, they have an intriguing approach to the ensemble's line up: the organ and choral singing always feature, with a brass section for depth and power. The programme is effectively divided into two: "strings" and "choral." Red Note are providing the brass and strings on different dates.

Each of the two strands offer different routes through composition. The choral programme is made up of five pieces, including Britten's AMDG, Philip Cooke's new commission and two past commissions from Rory Boyle (Tallis' Light) and Julian Philips (Body of Water). 

Choral Concerts

7.30pm 14th February, St Andrews, Holy Trinity Church

7.30pm 15th February, Edinburgh, Greyfriars Kirk

7.30pm 16th February, Aberdeen, St Machars Cathedral

Aberdeen University Chamber Choir, Edinburgh University Chamber Choir, St Andrews University Chapel Choir, Andrew Dickinson(tenor), Red Note Ensemble(brass), Tom Wilkinson(organ),

Michael Bawtree(conductor)

Choral Programme

Britten-AMDG

Leighton-Drop, drop still tears, Paean

Rory Boyle-Tallis’s Light (JAM commission 2011)

Julian Philips-Body of Water (JAM commission 2012)

Phillip Cooke-NEW WORK, commissioned for this Scottish tour

Strings Concerts

8pm 17th February, St Andrews, Holy Trinity Church

St Andrews University Chamber Orchestra (strings), Claire Seaton (soprano), Andrew Radley (counter-tenor), Tom Wilkinson (organ),Michael Bawtree (conductor)

Strings Programme

Pergolesi-Stabat Mater

Judith Bingham-Jacob’s Ladder

Strings Concerts

8pm 19th February, Glasgow, St Mary’s Cathedral

8pm 20th February, Edinburgh, Greyfriars Kirk

Red Note Ensemble (strings), Tom Wilkinson (organ), Claire Seaton (soprano), Andrew Radley (counter-tenor), Michael Bawtree (conductor)

Strings Programme

Pergolesi-Stabat Mater

Judith Bingham-The Hythe (JAM commission 2012)

Judith Bingham-Jacob’s Ladder

Ticket prices for all performances:

Aberdeen, Edinburgh and Glasgow: £12

St Andrews £12 / £8

For all concerts, students buying on the door: £ 5

There is no concession for OAPs.

Tickets now available via www.jamconcert.org/season or 0800 988 7984