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| | Arts Calendar / November 12 / Concerts |
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20:00 | Jethro Tull's Martin Barre (UK) |
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 Martin Barre has been the guitarist of Jethro Tull for 43 years, his sound and playing having been a major factor in their success. Album sales have exceeded 60 million units and they continue to be played worldwide, representing an important part of classic rock history. Martin's guitar playing has earned him a high level of respect and recognition; he was voted 25th best solo ever in the USA and 20th best solo ever in the UK for his playing on Aqualung. His playing on the album Crest of a Knave earned him a Grammy award in 1988. As well as numerous Jethro Tull albums, Martin has worked with many other artists including Paul McCartney, Phil Collins, Gary Moore, Jo Bonamassa and Chris Thompson and has shared a stage with such legends as Hendrix, Fleetwood Mac, Pink Floyd and Led Zeppelin. As Jethro Tull are taking a long break from touring, Martin has put together a band to play the "classic" music from the Tull catalogue. His band is a total commitment to give the Tull fans and a broader audience the chance to hear tracks not performed for many years. The band includes top musicians from a similar background. Martin Barre born in Birmingham, England on the 17th of November, 1946. His grandfather had been a violinist in his own orchestra in Paris and although his father wanted to play clarinet, he became an engineer. He never lost interest in music and as soon as Martin bought his first guitar he gave him albums by Barney Kessel, Jim Smith and Wes Montgomery hoping to broaden son's horizons. Martin Barre's schooling progressed from Kings Norton Grammer, to Tudor Grange Grammer, then onto Lanchester Polytech, later to become Coventry University. The music scene in the mid 1960's was big enough to provide most bands with as many gigs as they could handle - more than was wise for someone in full-time education. In 1966 Barre took the plunge and moved to London with a friend, Chris, who had played saxophone in the band The Moonrakers. They had been promised work in the band led by Screaming Lord Sutch (Ritchie Blackmore was once a member), but they were let down. Work was scarce but they finally landed a gig with a Bognor Regis-based band Motivation, who had backed Beau Brummel. The catch was they both had to play sax. Martin bought a tenor sax on Friday and spent the weekend practising and auditioned on the Monday. Luckily his flute playing from school helped him bluff his way through. The band became a blues band in 1968, after metamorphizing through soul, r&b and pop. They backed visiting soul artists such as the Coasters, the Drifters and Lee Dorsey. They even recorded a single "Lady Godiva" for Liberty Records, written by their in-house songwriter who always seemed to be glued to the piano. His name was Elton John. The band shared a house with a bunch of mad Scotsmen - a band called Hopscotch. They would later become the Average White Band, and Alan Gorey sang and played bass on a track with them. They all played up in Dundee on New Year's Eve with Pink Floyd featuring the new guy, Dave Gilmour. The Motivations became Gethsemane and ended up playing blues clubs all over England. Martin Barre was happy being back on guitar and also playing lots of flute. He had heard stories of Jethro Tull, with the flute player that looked like a tramp and a great bluesy guitar player and their reputation was growing fast. Barre eventually saw JT in the summer of 1968, at the Sudbury Blues and Jazz Festival. They were modestly billed below Traffic and Fleetwood Mac, but they were very good. John Gee, the Compere, swept the stage afterwards, humourously cleaning it of crawling insects! They met when Gethsemane supported JT in Plymouth at a Blues Club called the Van Dyke. Four months later, while they were playing in London and about to split from lack of money, Terry Ellis sent his card up from the audience asking Martin to audition for Jethro Tull. After a second attempt, he got the gig, seemingly on probation. Christmas 1968 was spent learning material that was to become the album Stand Up. At first the English audiences didn't like it - they remembered thebluesy Jethro Tull. The breakthrough came at Manchester University where all the new music finally found favour. Soon afterwards they supported Hendrix in Scandinavia. On returning to England, they recorded Stand Up and then immediately flew out to the USA for the first of many wonderful American journeys. In Moscow Martin Barre will come with Dan Crisp (vocals/acoustic/bouzouki), George Lindsay (drums), Frank Mead (saxophone/flute/harmonica), Pat O'May (guitarist/composer). More info
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20:00 | Lyudmila Golub: Requiem Concert |
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Lyudmila Golub, the Chamber Choir of Moscow Conservatory and Ensemble of Moscow Conservatory students perform Bach, Frank, Messiaen, Kasparov, Dupre to the memory of the First World War victims. It will be a requiem mass concert including the best samples of this musical genre. Lyudmila Golub graduated from the Moscow Conservatory, where she studied piano, organ and harpsichord. Well known as an organ soloist in Moscow, St. Petersburg, and elsewhere in , she also toured in France, Germany, Great Britain, The Czech Republic, Finland and participated in many international festivals. Lyudmila’s recital repertoire includes, among other works, the major compositions for organ by Bach, Mozart, Brahms, and Frank. According to the composer Alfred Schnittke, Ludmila Golub is a wonderful interpreter of modern music. She has performed the Russian premieres of compositions by Ives, Messiaen, Jolivet, Ligeti, Kagel as well as the works of Russian composers.
Roman Catholic Cathedral of Immaculate Conception of the Blessed Virgin Mary  |
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19:00 | Russian Philharmonic: Oh, Mozart, Mozart! |
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Performer - Moscow City Symphony - Russian Philharmonic. Soloists: Sergey Leiferkus (baritone), Yaroslav Abaimov (tenor). In program: Overture to opera "The Magic Flute", Symphony # 41 "Jupiter", "Requiem" (movements) by Mozart and "Mozart and Salieri" by Rimsky-Korsakov. Mozart completed his Symphony # 41 in C Major on August 10, 1788. The symphony was named "Jupiter" due to its grand scale, monumentality, heroic style, and noble grandeur. It's the last symphony ending the trilogy of three greatest works in Mozart's symphony music. The symphony's peculiarity is that all its development leads up to a triumphant finale, which crowns the symphony, like a magnificent dome crowning a cathedral. Tchaikovsky, who loved all Mozart's works, called this symphony "one of the miracles of classical music." Mozart and Salieri is based on one of the "little tragedies" by Pushkin. However, the musical drama does not copy the original; instead, it puts its own highlights in Pushkin's work. Salieri is no doubt the central figure in Pushkin's tragedy, whereas the opera focuses on Mozart and his art, which aligns perfectly with the major concept of Rimsky-Korsakov's creative work always aiming for the ideal of harmony. In his art the composer tried to reflect the bright sides of life. It's no surprise he was attracted by the luminous figure of Mozart. Rimsky-Korsakov's opera has a few quotes from Mozart's music: Cherubino's aria "Voi che sapete" from "The Marriage of Figaro", beginning of Zerlina's aria from Don Giovanni, and pieces from "Requiem". The opera was first performed on November 6, 1898 on the stage of Private Russian Opera (S. Mamontov's theatre), with F. Shalyapin as Salieri.
MMDM Svetlanov Hall |
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