The Sampler Mixtape #52 @ Resonance FMGuest Editor
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Music & Migration- Street Orchestra of London 13 – 16 April
The Street Orchestra of London’s ethos is simple; orchestral music is for everyone, everywhere. After a hugely successful debut tour last summer, the orchestra, founded by NonClassical and led by artistic director Gijs Kramers, are back this Easter with their ‘Music & Migration’ tour where all the performed pieces will have been written by refugee and migrant composers. Follow the orchestra on social media to track their movements across London, Croydon and Brighton, and get ready to dance in the streets!
The Height of the Reeds: A Sound Journey for the Humber Bridge 1-30 April
As a born and bred Yorkshire woman, I’m so excited about all the incredible events taking place in Hull throughout their year as the UK City of Culture. This month, the 3 mile walk across the iconic Humber Bridge will be transformed into an ‘adventure in sound’ created from music, sound art and poetry inspired by Hull’s maritime heritage. Later in the month the city is also hosting ‘North Atlantic Flux: Sounds from Smoky Bay’, a four day Nordic music festival curated by John Grant, featuring artists such as GusGus, Sykur and Lindstrøm.
Under the Skin: Mica Levi – London Sinfonietta 4 April – 14 April
From her roots as a DJ and singer-songwriter in her band Micachu and the Shapes, to her BAFTA and Oscar nominated film scores, Mica Levi’s gritty and nuanced fusions of live and electronic sound make her one of the most exciting voices in new music. This spring sees the London Sinfonietta perform live her beautifully unnerving score for Jonathan Glazer’s 2014 critically acclaimed film ‘Under the Skin’.
Hear and Now: Matthias Pintscher – BBCSSO 8 April
Austrian composer Olga Neuwirth’s new work ‘Masaot/Clock Without Hands’ receives its UK premiere alongside Ligeti’s lively ‘San Francisco Polyphony’ and Henze’s powerful ‘Symphony No. 7’. Originally written as a tribute to Mahler, but also inspired by her family’s connections to the Danube, Neuwirth describes her work as ‘an impossible attempt to stop time by composing’.