Thursday, June 30, 2016 Sheku Kanneh-Mason: Schumann Cello Concerto with Angel Orchestra, 3 July 5 PM; Oxford Mathematician Marcus du Sautoy on Math & Music

Sheku Kanneh-Mason

The Kanneh-Masons

Sheku Kanneh-Mason: Robert Schumann Cello Concerto with Angel Orchestra

Sunday 3 July 2016, 5 PM

London, England, United Kingdom

The Angel Orchestra

About the Orchestra

Conductor: Peter Fender
Leader: Abigail Dance

The Angel Orchestra is a London amateur orchestra lead by a professional leader and principal cellist who meet once a week to rehearse together at St Silas Church, Risinghill Street in Angel, Islington.

Summer Concert 2016

Sunday, 3 July 2016, 5pm
  • Bach, Ricercar a 6 from A Musical Offering (arr. P Fender)
  • Brahms, Haydn Variations
  • Strauss, Serenade
  • Schumann, Cello concerto (Sheku Kanneh-Mason, cello - BBC Young Musician of the Year 2016)
Bach’s student Mizler once declared that Bach’s music was the processing of sounding mathematics. Find out why maths and music have always been so closely linked with a short talk by Oxford mathematician Marcus du Sautoy.

Tickets at the door: £10 / £5 concession

Tickets online via WeGotTickets

Comment by email:
Thanks.  I'm fine and hope you're well too.  Thanks for the info. 
I've always felt the connection with mathematics when listening to music.  The tones, the progressions, and the intervals between tones.   I remember music for three reasons.  First the melody.  But I remember specific performances based on 2 other aspects 

First, the quality of tones of chords and instruments.  There are performances I listen to, over and over, to hear the perfect tonal quality of the instruments. One I love is a trumpet choir - with their tones at perfect tonal intervals forming such a pure sound. 

The other form of intervals that I remember are the intervals between notes.  For example, whether played by an orchestra or a soloist, there is individuality in the length of notes, the intervals of phrases, and in the intervals between notes. 

I remember and can mimic countless solos or phrases from recordings of singers, jazz artists, and big bands because I remember how they: hit, miss or bend tones; the length of the notes and phrases; and the intervals between the notes or phrases.  Before Lester Young, all jazz sax soloists played every note on the beat.  Then, in the mid-30s, Lester Young would slow down his delivery so the notes came on, before, and often after the beat.  Billie Holiday was a singer who did so famously.  The way such a soloist stretches intervals of notes/silence is unique.  And those unique intervals (tonal and time wise) are what I remember.

Ever since I started playing the accordion (about 1956 or 57) I felt music had to be played expressively (which I later realized was based on the interval length of notes and silence).  There was "straight" on the beat playing (for marches, or some music).  But I've always needed to play show tune, songs, and standards "expressively" - with varying intervals for notes, phrases and silences to express the mood of that music.  I couldn't just play Maria (from Westside Story) straight.  It demands more.  Anyway . . .
Sorry to run on.  But it is an interesting topic.
Thanks again.
 [Mark F. Davidson]

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