Category Archives: Concerts

Bach, Pericles, and open culture: Yo-Yo Ma in Athens

The Bach Project

Taking on “Bach’s ability to speak to our common humanity at a time when our civic conversation is so often focused on division”, celebrated Chinese-American cellist Yo-Yo Ma recently launched The Bach Project, which involves live performances and actions in 36 selected locations across the globe.

In the musician’s own words: “I believe that culture – the way we express ourselves and understand each other – is an essential part of building a strong society. My hope is that together we can use Bach’s music to start a bigger conversation about the culture of us.”

Yo-Yo Ma in Kipseli

Prior to his big recital at the Odeon of Herodes Atticus, Yo-Yo Ma had a busy schedule including various stimulating discussions and actions around Athens. One of these included an impromptu performance at Kanari Square in the neighborhood of Kipseli, where the cello virtuoso shared the stage with local musicians and jammed with them, much to the surprise of an enthusiastic audience.

Ma went on about the influence of Africa on classical music and gave a short history lesson on the origins of the Sarabande, a dance form used widely by Baroque musicians (Bach wrote a Sarabande for each of his 6 cello suites). He then quoted from Thucydides’s famous Funeral Oration of Pericles (ca. 404 B.C.): “We throw open our city to the world and never by alien acts exclude foreigners from any opportunity of learning or observing”.

After giving an intimate performance of Bach’s Sarabande from his Cello Suite No.3 in C Major, the great musician left the stage addressing the audience with a message of encouragement: “Stay open, stay courageous!”

 

Bach meets Epirus in Herodion

On the last day of June, during a warm summer evening, Ma performed all of Bach’s six cello suites in one go without intermission at the ancient Odeon of Herodes Atticus under the imposing shadow of the Athenian Acropolis. For about 2,5 hours the crowd stood still listening to the sound of Bach’s timeless music delivered by Ma’s inspired, masterful playing.

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Accompanied at times by singing cicadas, Ma’s performance was moving and powerful. His playing was elegant and spirited, in tune with the surroundings and the special ambience. The concert was concluded with a joint performance by Yo-Yo Ma and a vocal ensemble specialized in polyphonic music from the region of Epirus in northwestern Greece.

Following a sober and reflective instrumental introduction, Ma accompanied the singers on Αλησμονώ και χαίρομαι (“Forgetful, I am truly glad”), a striking example of Epirotic polyphonic song, whose lyrics and melody still resonate with remarkable force to this day:

Forgetful I am truly glad, but mindful I am saddened;
remembering those foreign lands, I want to set out for them.

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Underwater Chess – OHBTT – Their Methlab in concert

When three of the most outstanding bands the Greek alternative music scene has produced in recent years come together for a joint live show, chances are it is going to be something special.

Indeed, the recent appearance of Underwater Chess, One Hour Before The Trip and Their Methlab at Temple in Athens turned out to be a quite remarkable evening, a unique musical gathering of high standards – and spirits.

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Covering a wide range from post rock and metal to punk and electronica, the bands delivered some exhilarating performances, thus proving that truly authentic and elevating music is still out there, for all those willing to explore and go beyond the fringes of today’s largely commercialized and market-oriented music productions (perhaps ‘products’ would be a better word).

Contemporary music could definitely use more experimentation, innovation, and personal expression – elements found in abundance in all of the aforementioned bands, which will surely continue to entice and entrance audiences both around and -hopefully- beyond Greece.

Psychedelic geometry: Kikagaku Moyo in concert

A few years ago in Tokyo, following an intensive all-night jam, various patterns of geometric nature began to form on the back of Go Kurosawa’s eyelids. That’s what gave the young drummer the idea for a band name: Kikagaku Moyo, Japanese for “geometric patterns”.

The Tokyo-based psychedelic band, originally formed by Go Kurosawa (drums/vocals) and Tomo Katsurada (guitar/vocals) in the summer of 2012, gradually morphed into its current extended line-up, which includes three more members: Daoud Popal (guitar), Kotsu Guy (bass), and Go’s brother Ryu (sitar), who joined the band after studying with acclaimed classical sitar player Manilal Nag in India.

The band recently released its fourth album Masana Temples, recorded in Lisbon and produced by jazz musician Bruno Pernadas, in a conscious effort on behalf of the group to work with someone from a different background and challenge their own perceptions and ideas about psychedelic music.

An exotic -and at times explosive- blend of krautrock, folk, and Indian music, Kikagaku Moyo’s largely Improvisational music is an attempt to liberate both mind and body and create a “bridge between the supernatural and the present”.

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In their highly energetic live performance in Athens (which took place just a few weeks after another excellent concert by fellow Tokyo post-rockers MONO), the band brought successfully together all these diverse elements, rewarding their Greek fans through creating their very own kind of peculiar psychedelic geometry.

Music of transcendence: MONO in concert

Formed in 1999 in Tokyo, Mono developed into one of the most prominent names in post-rock music, releasing 9 much acclaimed albums over the last couple of decades, with their 10th studio album scheduled to be released early next year.

Post-rock, however, is too vague and restrictive a term to fully do justice to Mono’s unique soundscapes, which seem to spring from a different dimension, taking their audiences to hitherto unexplored worlds.  As an enthusiastic NME reviewer once put it: “Screw ‘Music For The People’, this is music for the gods.”

Indeed, as testified my Mono’s recent live performance in Athens, the band’s mind-blowing blend of experimental, ambient, and classical elements offers an experience that goes beyond mere musical satisfaction. The band’s dedication, seriousness and intensity signify some sort of musical ritual or initiation rather than just a live show, thus encouraging the audience to partake in a truly uplifting communal experience. Music, thus, seems to become a means to something higher rather than an end in itself.

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Mono’s guitar-based, lengthy instrumental pieces -kind of miniature ambient symphonies with rich dynamics and extensive use of reverb, distortion and delay effects- slowly take you in until you are, slowly but surely, completely absorbed into the magnificent and otherworldly atmosphere they evoke.

In the end, Mono’s music is about evolving, going deeper, and reaching higher. In a word, it’s about transcendence. As Takaakira Goto, the band’s lead guitarist, has put it: “Music is communicating the incommunicable; that means a term like post-rock doesn’t mean much to us, as the music needs to transcend genre to be meaningful”.

Nigel Kennedy meets Bach and Gershwin in Athens

From child prodigy to -super- stardom

Born in 1956 into a family of distinguished musicians, Nigel Kennedy started out his remarkable career in music as a boy prodigy (he became a pupil at the Yehudi Menuhin School of Music at the age of 7), and soon developed a highly individual style along with an unconventional approach that made him one of the truly unique -and controversial- violinists of his generation.

Yehudi Menuhin teaching young Nigel Kennedy

While still 16 years old, Kennedy was invited by legendary jazz violinist Stéphane Grappelli to play with him at Carnegie Hall in New York (which he did, successfully, against the advice of his classical teachers). His debut record featured Elgar’s Violin Concerto, while his 1989 recording of Vivaldi’s The Four Seasons with the English Chamber Orchestra became one of the best-selling classical recordings in history, with total sales of over three million units.

Fusing classical, jazz and rock

Over the last decades, Kennedy has made a name as one of classical music’s most (in)famous mavericks, regularly crossing over different music genres while developing his signature, unorthodox performing style and idiosyncratic playing. His tastes and influences vary from baroque and classical to jazz and rock (he has recorded an album with improvisational covers of Jimi Hendrix), and next to many of the world’s leading orchestras he has also collaborated with musicians such as Paul McCartney, Kate Bush, Robert Plant and The Who.

Regarding his departure from classical “orthodoxy” and standard practices,  Kennedy’s response has been revealing: ‘I suppose I took a bit of flak for taking the jazz attitude into the classical world. But so many people from the classical establishment are stuck in closets on top of their ivory towers.’

It was Kennedy’s acquaintance and apprenticeship with Grappelli that led him to a deeper appreciation and understanding of Gershwin’s music, which features in his latest album Kennedy Meets Gershwin.

A Greek premiere

Kennedy’s first live appearance in Greece took place earlier this week at the ancient Odeon of Herodes Atticus stone theater in Athens. Together with his ensemble (Peter Adams – cello, Yaron Stavi – double bass, Rolf Bussalb – electric guitar, Howard Alden – guitar), the English violinist performed a varied program in front of a warm and enthusiastic crowd.

After opening the concert with an original and absolutely breathtaking interpretation of Bach’s fugue from the first violin sonata in G minor, the highly energetic Kennedy carried on with some recent works by “one of his favorite composers” (i.e. himself), before moving on to a selection from his new album featuring his refreshing and lively arrangements of Gershwin’s classics Rhapsody in Blue and Porgy & Bess.

Nigel Kennedy performing at the Odeon of Herodes Atticus theater in Athens

Kennedy’s seemingly inexhaustible energy and high spirits led to a prolonged (nearly 3-hour-long) concert full of pleasant musical surprises, including Kennedy’s piano playing and an absolutely thrilling performance of the popular Csárdás, showcasing his astonishing virtuosity, improvisational skills, and… sense of humor (there were several moments when his comments caused loud laughter across the theater).

Kennedy’s sensational performance closed with an electrifying rendition of Minor Swing by Django Reinhardt and Stéphane Grappelli – indeed, a perfect ending to the evening and a testament to the musician’s ability to roam seamlessly through baroque, classical, gypsy, klezmer, and jazz music.

A brief history of Greek rock: Spyridoula’s special birthday concert

Some forty years ago, in November 1977, the band Spyridoula is formed in Athens by brothers Nikos and Vasilis Spyropoulos. It was a decisive moment that would forever change the face of rock music in Greece.

Following in the footsteps of Greek rock bands with English lyrics that first emerged through the 1960s (such as MGC, Socrates Drank the Conium, and Aphrodite’s Child), Spyridoula started out with live gigs playing guitar-based rock and doing covers by American blues and rock bands such as The Doors and The Velvet Underground.

Their collaboration with legendary frontman, lyricist and composer Pavlos Sidiropoulos in the late 1970s resulted in the use of Greek lyrics, and their landmark debut album with Sidiropoulos as vocalist has been widely regarded as one of the most important rock albums with Greek lyrics ever recorded. In the ensuing decades, Spyridoula would further collaborate with several important Greek musicians and, despite many adversities, continue with both live performances and studio recording.

With a little help from its -many and distinguished- friends, the band celebrated its 40th birthday with a special live concert that took place at Gagarin 205 Live Music Space in central Athens.

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Featuring an epic set lasting nearly 4 (!) hours and spanning almost 4 decades of music, Spyridoula and their notable guests (including seminal figures of the Greek rock scene such as Dimitris Poulikakos and Giannis Aggelakas) gave a truly memorable appearance, effectively presenting the audience with a brief history of Greek rock from its early days to its current state. A history full of hopes and dreams, anger and pain, illusions and disenchantment – but, above all, full of music that reverberates across today’s empty streets and lonely hearts, forever shaking and moving us.

Summer in (and around) the city: Checking out Barcelona’s summer music festivals

So far it has been an eventful summer for the concert goers of Barcelona. From the plethora of music festivals and events that take place every year in and around the Catalan capital, one can only check out so many; it is simply impossible to be everywhere at the same time, so -sometimes tough- choices have to be made.

This summer I decide to skip some of the major (and typically over-crowded) events such as Primavera Sound or Sónar, and I head out to Vida Festival at the port city of Vilanova i la Geltrú, just outside of Barcelona. Although I certainly enjoy the likes of Venezuelan American singer-songwriter Devendra Banhart and American psych-rockers Flaming Lips (the festival seems to attract increasingly bigger names each year), I am mostly drawn to the the overall relaxed vibe, scenic surroundings, and holiday/summer camp mood that emanates throughout. I think I’ll be also coming back next year.

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A week later I find myself back back in Barcelona’s boiling-hot Forum for this year’s edition of Cruïlla Summer Festival. I arrive early in order to see the charismatic Benjamin Clementine, one of the most promising singers-songwriters that have emerged in recent years. His performance is indeed exhilarating and his stage presence memorable – there’s little doubt we will be hearing more about him in times to come. Next up is Ryan Adams whose performance is lit by an incredible moon, followed by a lively and groovy set by Parov Stelar and his excellent live band.

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Last one on my list for this summer’s musical events is Pedralbes Festival, which takes place at the lush gardens of the Pedralbes Palace along Barcelona’s Diagonal avenue. I am there to see Yann Tiersen’s solo concert, a sort of mini retrospective of his remarkable career. Tiersen gets on the stage quietly, sits on the piano, and proceeds to reconstruct his intimate minimalist musical universe he’s become well-known for. Accompanied only by pre-recorded ambient sounds reproduced on stage on reel-to-reel tape, he gives a solemn, reflective performance that seems to sit well with the venue’s elegant character and stately environment, further enhancing the beautiful, moonlit summer night.

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