Tuesday, 29 May 2018

A New German text for Stravinsky's Soldier

Première of a New German text 
for Stravinsky's "The Soldier's Tale"

It's such an honour to be invited to create live kinetic paintings with such eminent artists as bass-baritone Thomas Quasthoff (Narrator), the amazing actress Katja Riemann (the Devil) and of course the indefatigable creative spirit Daniel Hope (violin and the Soldier) and ensemble, all directed by Leonhard Koppelmann with the text-writer Peter Jordan. We are just one part of June 23rd Gala programme in Essen Philharmonie entitled: Ein Sommernachtstraum: Heimat (A Midsummer Night's Dream: Homeland). Check that link.

I've performed  this piece several times before - here's another Link to my blog from a Stockholm performance in 2014. The original story conceived by C.F. Ramuz in 1918 is well-known, but this totally new German version of The Soldier's Tale by Peter Jordan has inspired quite a number of new kinetic images. The stills without the story-telling and music are nothing more than teasers. 
                                        Marching on the zigzagging roads home
Stravinsky's score is alternately humorous, wistful, crazy and full of irony. It seems to me to reflect the visual art style Cubism, where the subject is fragmented then re-structured as geometric forms, seen from multiple viewpoints. Stravinsky must surely have seen Picasso's early Cubist works in Paris, ten years before he composed The Soldier's Tale in Switzerland in 1918. By then the first signs of Art Deco were also taking shape and this awareness had an influence on my designs and cut-outs, through which my mysterious and ever-surprising fluid paint flows.

On home-leave just before the end of World-War 1914-18, the Soldier trudges along a long and dusty road, takes a break (the Petits Airs) and encounters the Devil who persuades him to exchange his violin (his soul) for an illegible book that nevertheless makes him unbelievably rich. We feel the Soldier's hope, disillusionment and despair. 
My brush for the Devil with his illegible yet enriching book
Petits Airs
On hearing that the king's daughter is terribly sick - possibly from listening to the Devil's violin playing - the Soldier heads to the royal palace, retrieves his violin and using his musicianship as therapy, get's the Princess to open her eyes and dance with him to Tango, Waltz and Ragtime. It's a long story and of course the Devil wins in the end.
The Royal Palace
The deadly ill Princess
Towards the end of the "Petit Concert" the Princess starts to open her eyes
The Soldier's Tale is the Essen Philharmonie finale of a festive Midsummer Night's Dream. Especially magical for me, because all being well, the morning after, on Midsummer's Day (June 24th) I celebrate my 85th birthday. What a wonderful birthday present. Thank you Daniel! 

Wednesday, 9 May 2018

Painting The Sea

Painting "The Sea" 
with Mirga Gražinytė-Tyla & the CBSO
February 16th. 2019

I'm delighted to share the announcement of the City of Birmingham Symphony Orchestra that in February 2019 I shall be making kinetic paintings live in concert to The Sea, by the Lithuanian composer/painter M.K.Čiurlionis (1875 -1911), conducted by Music Director Mirga Gražinyte-Tyla in Symphony Hall Birmingham. The date for this UK première is now confirmed as Saturday February 16th. 2019, which by the way is Lithuania's Independence Day.

It's still a work in progress of course, but here's the Link to my first 4-minute Trailer on YouTube for a few quick glimpses of the beginning and the end of this twenty-nine minute work.   

And here's the Link to my blog from last September - Serendipity: Mirga, Norman and Čiurlionis, written after I had done some serious research in Lithuania on the audio-visual work of this prodigious creative spirit. Čiurlionis had a significant influence in early abstract art, symbolism and art nouveau and became a cultural legend in Lithuania. As a synaesthete, he was so finely tuned to the correspondences between visual art and music, that had his life not been tragically cut short at the age of thirty-five, I'm sure he would have become one of the composers of early film music. At last, in 2019, I shall be creating the movie to his music. Music that is ideally suited to my flowing colours. 

Čiurlionis probably had Chromesthesia, as I do. I'm not going to copy his paintings, but rather create my own kinetic flowing images inspired by my own automatic involuntary reactions to his music. How wonderful it would have been to meet! You can imagine that we might have embraced as brothers.

Mirga's concerts with the CBSO are regularly sold out, so here's the Link to book your concert tickets early (from June 4th. for general public). After all, this concert has a somewhat unusual added visual attraction! It's been twenty-five years since I performed with the CBSO in Symphony Hall under Sir Simon Rattle, televised by BBC in 1993 as Concerto for Paintbrush and Orchestra. Born in Birmingham nearly eighty-five years ago, this is quite an emotional milestone in my career in visual music and I shall be thrilled to be back in Symphony Hall.


Saturday, 7 April 2018

Portrait of a dear friend

The arts and science of communicating

Cees Hamelink: world-renowned Emeritus Professor of Global Communication, esteemed author, jazz musician, collector of my art works, theologian, dear generous friend, a politician's nightmare, devil's advocate, media critic and globe-trotter with a wicked sense of humour, is a brilliant educator whose tutorials have become legendary.

How can you possibly try to compose a portrait of such an erudite and many-sided personality? I asked him how he would like to be portrayed and remembered. Without hesitation he said - as a teacher. So I asked him to give me a tutorial during our "sitting", actually making life quite difficult for myself, in that he would be moving non-stop around the studio, talking with hands and heart on the passion of his life - global communication. 
Prof. Cees Hamelink. Watercolour 70 x 49 cm. 2018.

 So here he is in action: a fairly relaxed professor, thoughtful, raised eyebrows always questioning, his friendly eye-contact full of wisdom and humour, using persuasive body language, his sensitive hands conjuring up surprising truths, then firmly giving shape to untruths.  No notes of course - his thought bubble is bursting with ideas. I've tried to paint this watercolour with a freedom that would suggest his dynamic energy, but here and there I had to zoom in for some precise details. Don't you wish you could be one of his students?

I met Cees back in 1974, when we were both resident in Geneva. I had just painted my large watercolour and ink impression of a performance in Geneva of the world hit Misa Criolla, sung and played by the Agrupación música Ariel Ramirez. I was blown away by the variety of Latin American rhythms, instruments and voices that were to dictate the tiny textures, deep bass notes and floating echoes of the magnificent voices of this passionate group. It was one of my early attempts to include graphic rhythms in my paintings. This one immediately became the first of Cees' large collection of my work. Turn the sound up for the full sonorous bass tones, enlarge the picture, then click on this link to hear what this painting sounds like. Misa Criolla.
Misa Criolla, watercolour and ink, 69 x 99 cm. 1974.

I wonder whether Cees could have imagined that, forty-two years later, he would marry a wonderful Mexican lady who cheerfully carries such rhythms in her heart and soul. 
Gabriela Barrios, watercolour 62 x 45 cm. 2016

Thursday, 15 March 2018

The Unseen Collection

The Unseen Collection 

Last Monday I enjoyed the opportunity to give a new friend a guided tour of my collection of thirty-one paintings in Symphony Hall Birmingham. Although he's a regular concert-goer, he had only seen a couple of them before. The earliest of my action-portraits of great names in classical music, all programmed to perform at Symphony Hall, were painted in 1990/91, commissioned by the first Director Andrew Jowett, now retired. The most recent in 2013.

Despite popular demand for a public exhibition of the collection and despite various proposals during the last twenty-eight years, only a privileged few occasionally get to see a handful of my works at receptions in the Director's Lounge; even less see the paintings in the back-stage corridors. There are just two on semi-public view.

Elgar's Dream, my largest watercolour ever, inspired by The Dream of Gerontius, commissioned by Robin and Jayne Cadbury and unveiled by Yehudi Menuhin in 1996, has limited access on the Level 4 Foyer while you grab your drink during the concert interval. An Elgar fan, my guest was delighted to finally get my detailed description of his favourite painting. 

My Mahler Experience can be glimpsed on the ground floor but is often cordoned off, eclipsed by the blinding bright panels of advertising in The Mall and Convention Centre. I wonder with some trepidation what will happen to these major works, when the spacious new foyer is built (see below). A radical re-hanging, presumably. An artist is often powerless to intervene, once his works have left the studio, when he discovers it with a horribly wrong frame or wall colour. Right from the beginning I was fortunate to be able to consult with the excellent Birmingham Framers Gale & Co. Ltd (Est. 1845) about the framing of this Collection.
photo: Page\Park Architects

Yes, you can now buy some cards and my memoir A Life Painting Music, if you can find them amongst the Chopin Boards, Victoria Eggs, coffee mugs and toy Ukuleles in the little Gift Shop

But as a Birmingham man approaching his eighty-fifth birthday this year, I guess this is one last plea for a professionally curated public retrospective of the original paintings of the Symphony Hall Collection (preferably somewhere in Birmingham), expanded by a selection from the enormous number of my other paintings that bring art and music together - Yehudi Menuhin with Ravi Shankar, Georg Solti, Bernard Haitink conducting Stravinsky's Firebird, paintings of the Netherlands Dance Theater and so on. And hey - what about a painting of the wonderful new Music Director of the CBSO, Mirga Gražinytė-Tyla?

Meanwhile, bravo to Classic FM for providing this Link to their online Gallery of a major selection of my work, so that it can be viewed by a global public. Thank you!
The Mahler Experience - Symphony Hall, acrylic on canvas, 200 x 160 cm., 1993

I've written blogs on the making of this Collection and on specific paintings. Just scroll down or go to the search bar (right). More general information and images can be found on my website at www.normanperryman.com.