Friday 28 May 2021, 7.30pm
Apartment House investigates the music of longterm partner in time, English composer Laurence Crane, in this his 60th year. Music that is inimitable, rigorous and often poignantly beautiful. Join us to mosey on down through a panoply of his compositions.
Kerry Yong / piano
Nancy Ruffer / flute
Anton Lukoszevieze / cello
PROGRAMME:
- Air (1986) - flute, cello and piano
- Five Preludes (1985) - cello and piano
- Processional (1986) - flute, cello and piano
- Derridas (1985 - 1986) - solo piano
- 10,000 Green Bottles (1986) - flute, cello and piano
- Three Pieces for Solo Cello (1990)
- Second Favourite Chord (1997) - cello and piano
- Erki Nool (1999) - flute and piano
- 20th Century Music (1999) - solo piano
Part of the Festival of Laurence Crane
The group, created by cellist Anton Lukoszevieze has been captivating audiences for nearly 30 years, with performances of avant-garde and experimental music from all over the World.
The ensemble has been a firm fixture on the British concert scene, with regular performances at Café Oto and as an associate ensemble of the Wigmore Hall.
Apartment House has released over 40 albums, many on the UK label Another Timbre. Current releases include Pauline Oliveros - Sound Pieces, Magnus Granberg - Evening Star, Vesper Bell and Morton Feldman’s epic and mesmerising Violin and String Quartet.
Laurence Crane lives and works in London, and his music has regularly been broadcast, recorded and performed across the world.
His output consists mainly of music written for the concert hall, although his list of works also includes pieces written for film, radio, theatre, dance and installation. He is particularly closely associated with the British ensemble Apartment House, who have to date given around forty performances of his works.
‘In Laurence Crane's music the material chosen is familiar; mostly consonant, often tonal, triads, elementary chords, old well-used intervals rescued from a previous unjust ignorant redundancy. The familiar sound or image is abstracted by being placed in a new, clean and often isolated context, like a museum glass case. Its innate value is respected by it remaining alone, unornamented and unaffected during the course of the piece by any development or transformation; the image staying as and where it is by being gently reiterated or prolonged so that it holds our full attention.'- Tim Parkinson