Band to fol­low up fes­ti­val with tour

Yorkshire Post - Culture & The Guide - - MU -

THE head­lin­ers of this year’s Glas­ton­bury Fes­ti­val have an­nounced a new tour.

Brit Award win­ners Kasabian, closed the fes­ti­val and are said to be in the form of their lives on stage and on record.

Their new al­bum, 48.13, writ­ten and pro­duced by gui­tarist Ser­gio Piz­zorno, has be­come their fourth con­sec­u­tive Num­ber One al­bum .

Sup­port for the tour will come from The Mac­cabees.

And the band play at the Leeds Di­rect Arena on Novem­ber 21.

Tick­ets go on sale to­day from the box of­fice on 0844 248 158. CON­DUC­TOR, com­poser and viol player Jordi Savall is a liv­ing leg­end who has for the past forty years been the top sell­ing name in the world of Early Mu­sic, though, as he re­lates in a rare in­ter­view, it was more by ac­ci­dent than de­sign that he ever be­came in­volved.

“I was six years old when I was per­suaded to join the school choir in my home town in Cat­alo­nia and it seems from that mo­ment my fu­ture was in mu­sic.

“Twelve years later I went to the Barcelona Con­ser­va­tory to study the cello, and there I found that some of the pieces I was play­ing were ar­range­ments of mu­sic orig­i­nally writ­ten for the viol, an in­stru­ment that had long been for­got­ten, and I be­gan to won­der what it would have sounded like when it was first com­posed.

“That set me on the road to look for a bass viol, the par­ent of the mod­ern cello, and which you hold and play in a very sim­i­lar way, the main dif­fer­ence be­ing that it has six strings and the cello has only four.

“That was not a ma­jor dif­fi­culty, as I had played the gui­tar when I was a young man, which also has six strings, so I ba­si­cally knew the fin­ger­ing re­quired. I was then al­ready twenty and just be­gin­ning to study mu­sic that I knew lit­tle about.”

Those were to be his first hes­i­tant steps that even­tu­ally led to two years spent as a stu­dent of Au­gust Wen­zinger in one of the few mu­sic schools spe­cial­is­ing in those ‘strange in­stru­ments’ lis­tened to by a quaint mu­si­cal fringe.

In the years that fol­lowed he gath­ered around him some gifted young pe­riod in­stru­men­tal­ists, and in 1974 formed the group, Hes­pe­rion XX.

It was to re­ceive highly favourable re­views in the specialist mu­sic me­dia, and on a good night they would at­tract an au­di­ence of three or four hun­dred people mes­merised by the sheer vir­tu­os­ity of Savall’s play­ing.

No one at the time could have fore­seen that this world would be turned upside down by the film maker, Alain Corneau, who had re­cently read a book by Pas­cal Quig­nard re­gard­ing a group of re­mark­able viol play­ers em­ployed in the court of Louis XIV.

Headed by Sainte-Colombe and his pupil, Marin Marais, their story was full of in­trigue, in­fight­ing and ro­man­tic ex­cur­sions, and sparked the idea of the pe­riod dress film drama, Tous les matins du monde.

All Corneau had to do was to find a per­former who could se­lect the mu­sic and repli­cate the au­da­cious tech­ni­cal vir­tu­os­ity of the fa­mous group. That per­son had to be Savall.

Most un­ex­pect­edly the film quickly gained an in­ter­na­tional cult sta­tus, the haunt­ing mu­sic of the sound­track ap­pear­ing on a rush re­leased disc that sold over a mil­lion copies, and dom­i­nated the UK ‘Clas­si­cal Top 20’ chart for sev­eral months. .

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