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Music-in-Motion Ensemble & Gildas Quartet, directed by John Landor (Matinee)

28th October 2017 · 3:30pm - 5:00pm

In person | Virtual event

 Music-in-Motion Ensemble & Gildas Quartet, directed by John Landor (Matinee)

*Tickets also available for further performances on Saturday 28 October 7.30pm – 9.00pm and Tuesday 31 October 7.30pm – 9.00pm.

Bach Brandenburg Concerto No. 3 in G BWV1048
Vivaldi Sinfonia al Santo Sepolcro in B minor RV169
Pärt Fratres
Janáček String Quartet No. 1 ‘Kreutzer Sonata’
Purcell Chacony in G minor
Elgar Introduction and Allegro Op. 47

Bach Brandenburg Concerto No. 3 in G BWV1048
Vivaldi Sinfonia al Santo Sepolcro in B minor RV169
Pärt Fratres
Janáček String Quartet No. 1 ‘Kreutzer Sonata’
Purcell Chacony in G minor
Elgar Introduction and Allegro Op. 47

Are you regular concert goer looking for something a bit different? Do you like classical music – but find concerts a bit of a stretch?

Wish there was more ‘action’? Less formality? Shorter sets?

If so, you should try one of our ‘Music-in-Motion’ performances!

It’s a completely new kind of concert where we put on a real show! The musicians are all around you, moving as they play. There are no music stands or chairs – just passionate, expressive musicians using the space and their bodies to convey the drama and emotion of the music.

You can take in your drinks, lounge on a cushion or move around between pieces, and there’s plenty of intervals where you can chat with your friends.

And there’s a touch of the macabre in the programme to mark the coming Halloween season. Between the exuberance of Bach’s 3rd Brandenburg Concerto and the élan of Elgar’s Introduction and Allegro, there’s a murder in Janacek’s Kreutzer Sonataa coffin in Vivaldi’s Santo Sepolcroheartache in Purcell’s Chacony and solace in Arvo Pärt’s Fratres. And for our Tuesday ‘Halloween’ concert, a special ‘Halloween Cocktail’ available at the bar.

Audience reaction to Music-in-Motion:
“I was totally riveted. I felt more involved, ‘inside’ the music. The body-language and facial expressions helped express the music – quite terrifying at times! It felt organic, alive, more resonant and with more depth and emotion.”

….and the critics:
Planet Hugill: “The players’ positions and gestures responded to the drama and musical argument. The result was extremely vivid and engaging, creating a real sense of dramatic involvement in the piece.”

British Theatre Guide: “A performance element helps to focus concentration in a way that is often lacking in conventional concerts. As the performers move within the performance space, the effect of the different relationships adds extra feeling and strengthens the impact.”

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