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Jubal has launched an App that enables its users to access details of classical music concerts involving specific artists, venues, music genres, and various event categories.

Named after the first musician recorded in Western culture, Jubal has been designed with classical music lovers – and promoters – in mind, although it can be used to attract an audience for any event.

The Jubal App allows users to filter events by date, location and other criteria, as well as check the availability of – and buy – tickets.

“We intend Jubal to benefit event goers – especially concert goers – promoters and artists,” said Francis Hornak, a trustee for a classical music trust, who first had the idea for the App during a board meeting.

“As someone who’s interested in classical music, I often found that I didn’t know when concerts were taking place,” he added. “I thought that it’d be useful to have an App that has that information readily available, easy to use – and that would send me a ‘nudge’ from time-to-time to let me know when an up-coming concert involves someone who interests me.”

So, Francis, aided by a team that includes Appy Award winners, Mobikats, created the Jubal App.

The App provides a list of concerts and other events taking place and is intended to cover the whole of the UK. Although initially focused on the country’s main concert venues, one of its most attractive features is that the App will also be able to cater for concerts in church halls, schools, pubs and other smaller venues.

Opening the App enables users to see a list of concerts, from ‘today’ onwards. There’s a ‘location search’ function that will show concerts close to the user’s location, or in any other area the user specifies.

Users can see information about a venue, its location and can get directions to it. They can also see basic details of the event’s programme; can link to iTunes to hear excerpts from the pieces being performed – and see a web link or a telephone number so that they can buy tickets for the performance.

There’s an option to send a message about an event to a contact, via text or email. Users can also share information about the concert via social media; save a shortlist of concerts, and add them to the user’s calendar.

“From a user’s point of view, the App makes it easier to find concerts anywhere in the UK over any specific period,” Francis said.

“Venues, performers and promoters should also find the App to be a highly cost-effective way to promote their concerts,” he added. “It will help sell more tickets, fill empty seats – and should end up costing very little.”

Those wanting to promote an event via the Jubal App can enter the details of the event via Jubal’s web portal. Anyone can apply for a log-in and permission to post event details on the App – and this should be granted after a short vetting process by the App’s owners.

“This is, predominantly, a classical music App,” said Francis. “and, as part of our development process of consultation and testing, we’ve consulted The Association of British Orchestras, the British Association of Concert Halls, orchestras including the CBSO, RPO, and LPO, and venues including Cadogan Hall, the Royal Albert Hall, and the Birmingham Symphony Hall.”

For further details of the Jubal App, visit

 

About Jubal
Named after the first musician recorded in Western culture, Jubal is an App that enables users to indulge their preferences and access details of events involving specific artists, venues and/or music genres. In addition, the App provides information on other events, which can be filtered by date, location and other criteria. It allows users to check the availability of – and buy – tickets. Jubal hopes to benefit all parties including event goers, promoters, artists/groups/orchestras and venues and, ultimately, if it proves a success, Jubal’s shareholders – including the classical charitable trust for which Francis Hornak is a trustee.

www.jubal.co.uk

 

(source Bob Little PR)

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I have British pianist Joseph Tong to thank for introducing me to the wonderful piano music of Jean Sibelius: Joseph played a selection of miniatures, ‘The Trees’, at a concert for my local musical society, which revealed the variety and expressive qualities of Sibelius’ writing for the piano, too often overlooked when compared to the statue and popularity of his symphonies.

Joseph is a keen champion of Sibelius’ piano music and has traveled to the composer’s home in Finland to play his piano. In his recordings of Sibelius’ piano works, Joseph seeks to demonstrate the composer’s command and understanding of the instrument through a selection of works written during the main periods of the his creative life. There are crisp textures, folk melodies, rhythmic dances and imaginative part-writing. This volume contains Sibelius’ most significant large-scale work for piano, the Piano Sonata in F, Op 12, and one of his best-loved orchestral transcriptions, the Valse triste, which opens as a melancholy waltz that grows into something more far expressive, romantic and upbeat (though always tinged with poignancy, not unlike Ravel’s La Valse).

The miniatures on this disc, the Six Bagatelles, Five Characteristic Impressions and Four Lyric Pieces have a quirky individuality, with their hints of folk idioms, lyrical melodic inspiration and pianistic challenges. Joseph is alert to the changing characters and moods of these miniature marvels and brings warmth and affection to his sound and interpretation.

In planning the running order for the disc, Joseph wanted to combine “large-scale works with shorter pieces (or sets of pieces) in a way which might mirror a concert programme” and so the recording closes with a fine reading of Sibelius’ early Piano Sonata in F, a large-scale work rich in late-Romantic expression which fully utilises the modern piano’s resources. It has a Rachmaninoff-like spaciousness to it – the piano music of both composers seems to acknowledge and express the vastness of their homelands (even when writing in miniature form), though Schumann is a more likely influence in Sibelius’ early piano writing. The first movement certainly shares Schumann’s extrovert exuberance and brilliance. The middle movement, Andantino, is more restrained, a simple hymn-like melody with an accompaniment of syncopated chords, which becomes more florid in the middle part of the movement. The finale is rambunctious cheerful rondo, driven by its motoring rhythms and busy theme, which ends in virtuosic cascades of notes.

Like the previous volume, this is a rewarding compilation, revealing Joseph’s affinity with the music and its composer in his depth of tone, varied colours and musical understanding. The recording quality is excellent, with an immediacy of sound which suggests a live concert performance (and I was fortunate to hear Joseph perform the Piano Sonata and shorter works at his recent concert at St John’s Smith Square to launch this recording).

Sibelius’ piano music is accessible and satisfying to play, and I urge pianists to seek out this excellent survey.

Recommended

 

 

 

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Meredith Monk Ellis Island

Phillip Glass – Études Nos 9 and 2

Debussy – Études Book 1

Christina McMaster, piano

My second trip to Wimbledon International Music Festival proved as rewarding and enjoyable as the first. As part of the Festival’s New Generation Artist Series, pianist Christina McMaster gave a lunchtime concert featuring music by living American composers Meredith Monk and Philip Glass, together with Études by Claude Debussy.

Christina studied with Joanna Macgregor at the Royal Academy of Music and I think the influence of her mentor shows in her imaginative and eclectic programmes and the clarity, panache and vivid colour of her playing. Monk’s ‘Ellis Island’ was written to accompany a short silent film of the same name, which celebrates the gateway to the USA for thousands of immigrants in search of a better future. The music, originally scored for two pianos (I assume the transcription for solo piano was arranged by Christina herself), has a lilting Gaelic flavour, a reminder that many people from Scotland and Ireland emigrated to America. The overall message of the music is hopeful and joyful, though a quieter section at the end suggests eagerness tinged with anxiety at what the future may hold. Christina created a lovely bright, crystalline sound with a great sense of energy throughout, though the music never felt relentless, but rather light and dancing.

Fellow New Yorker Philip Glass is regarded as the master of minimalism, but his piano music when played with sensitivity can feel almost romantic, and this was certainly Christina’s approach to the two Études by Glass in this programme, one frenetic and urgent, the other more reflective with its Schubertian long-spun motifs, spaciousness and unexpected harmonic shifts. Her sense of pacing, elegantly nuanced dynamics and tempo made these works the highlight of this excellent programme for me.

Debussy’s Études follow Chopin’s model – short pieces written to exercise and improve the pianist’s technique, and like Chopin’s Opp 10 and 25 Études, Debussy elevates the pieces from student exercises to exquisite concert miniatures. The first Étude of Book 1 is dedicated to “Monsieur Czerny” and is an amusing take on Carl Czerny’s rather tedious five-finger exercises which many young piano students have had to endure (I know I did!). Cheeky interjections from rogue fingers hint at the student’s frustration at having to remain in a five-finger position on the keyboard and the work grows more expansive and virtuosic towards the end. It was despatched with playfulness and wit. The other Études were played with similar character, their individual quirks and delights carefully delineated by Christina. There were so many moments to savour – great delicacy of touch, subtle shadings, natural rubato and rhythmic vitality, and the entire performance was vibrantly coloured and very stylishly presented. The encore, Debussy’s ‘Girl With the Flaxen Hair’, was played with equal poise and elegance. 
(Photo: Dominic Farlam)

 

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Worbey & Farrell are Steven Worbey and Kevin Farrell….

Who or what inspired you to take up piano, and pursue a career in music?

We’d both say it was really a natural ‘calling’. We’re both from musical families and had a piano in the house. We have similar stories of our parents having difficulty getting us away from the piano. At school neither of us ever went into the playground – we could always be found at a piano somewhere in the music department surrounded by fellow students. A career in music was a happy option. What could possibly be better than doing something you love and being paid for it?

Who or what have been the most important influences on your musical life and career?

We both come from families involved in many aspects of the arts. Kevin’s mother was at the Royal Ballet School and Steven’s grandfather was an accomplished Jazz pianist who toured with a famous dance band. We were both fortunate to be raised with wide a range of great music around us. Steven had inspiring teachers from an early age. Kevin’s college professor Peter Wallfisch was an excellent teacher and rather intimidating but looking back Kevin says he was the most inspiring of them all. Steven’s first Royal College professor was Phyllis Sellick who was wonderful teacher and enormously influential.  He then went on to study with Yonty Solomon and Peter Katin.

What have been the greatest challenges of your career so far?

We’re always challenging ourselves with new arrangements. When we first launched our duo, to stand out we included a fair amount of musical comedy. We soon realised that our strengths were really in the music and arrangements so had to make the changes subtly making the emphasis on the music. This lead to more concert engagements.

Which performance/recordings are you most proud of?

We recently recorded and filmed our arrangements of Bach’s famous Toccata and Fugue in D minor and Gershwin’s Rhapsody in Blue. There are a couple of versions of the Bach arranged for four hands on one piano but we thought them too embellished and heavy with not enough colour and contrasting textures that the piece requires being composed for organ. We were inspired to arrange the Gershwin for four hands on one piano as we feel the versions available don’t quite use the piano to it’s full orchestral potential which can mean crossing hands a lot.

Which particular works do you think you play best?

We like to take orchestral works and try and create orchestral sounds on the piano. You could say we like to think of the piano as our very own symphony orchestra. We wouldn’t take a well written sacrosanct piano piece (i.e. Chopin) and arrange it for four hands as it would simply spoil it. With the use of four hands and some clever trickery, it’s amazing that you can make a piano sound like a lush string section, a muted trumpet or like triangles and Glockenspiels.

How do you make your repertoire choices from season to season?

We’ve discovered that changing repertoire every season isn’t ideal as some of it can go to waste and not be heard by enough audiences. We now add and take away gradually throughout the year making sure that each work is performed to its best and also gets a good airing. We simply choose music that we love rather than trying to pander to our audiences. It wouldn’t be fun for us to play a work that we’ve chosen just because we think the audience may like it.

Do you have a favourite concert venue to perform in and why?

We tend to perform in concert venues and theatres. Concert venues often have wonderful acoustics for the piano but on the flipside they’re not ideal to talk to your audience as your voice gets lost. Conversely playing a piano in a theatre tends to sound very dry but is good for the voice. In those cases we sometimes add a little concert reverb to the piano. Our recent favourite venues were the Dora Soutzker Hall at the Royal Welsh College of Music and Drama, the Sejong Centre in Seoul, Korea and the Newbury Corn Exchange as part of the Newbury Spring Festival. This coming November we’ll be performing at Edinburgh’s Usher Hall which acoustically is wonderful.

What is your most memorable concert experience?

There are two – and we have to tell you about both! We were once performing our own Paganini Variations (which we called ‘Deviations on a Caprice’) and both had one of those wonderful and very rare moments of sheer bliss – where we completely lost ourselves in the music and nothing got in the mind’s way. It was what we all strive for. The other moment was when we were performing at the Grassington Festival and during a comedy moment a young boy on the front row burst into laughter and simply couldn’t stop. His father was holding his hand in front of his mouth and had to take him out. We later received an Email from the father thanking us for introducing his boy to music and fun. It was very moving for us.

As a musician, what is your definition of success?

There’s lots of talk of ‘making it’ and unfortunately musicians often compare their careers to others’ careers but as far as we’re concerned if you can make a career out of any aspect of music you’re definitely a success.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

We’d say “be yourself”. If that means re-inventing the traditional recital do it. If you love to talk, be funny or tell stories then do it. When a performer enters the stage the audience doesn’t really know if they like you. Why not smile, say hello or chat first. Concerts don’t have to be so glum anymore. We’ve been to some amazing performances recently by world famous pianists that just look so unhappy. There’s no reason why they couldn’t enhance their stage technique a little.

Where would you like to be in 10 years’ time?

If we’re still doing what we do now we’d be most happy. Making a good living out of something we love. Sometimes we spend so much time striving for more we forget to enjoy what we’ve got. We’ve come to realise that a moderate amount of ambition is fine.

What do you enjoy doing most?

Aside from the obvious music we enjoy socialising and cooking. We rarely have a night at home and watch very little television. There’s so much going on in the real world such as theatre, concerts, parties, restaurants etc

Worbey & Farrell are internationally acclaimed concert pianists with a wicked sense of humour. They have played with the world’s leading symphony orchestras, achieved over a million hits on YouTube, and entertained in over 150 countries around the globe with their barnstorming blend of sparky comedy and utterly sensational piano playing.

www.worbeyandfarrell.com