The first edition of the Monchique VilaNova Chamber Music Festival will take place over three consecutive weekends, December 4, 11 and 18. This is the first time that classical music lovers will be able to live various experiences in different places in the city’s urban space, for a month. Free entry.

The festival is organized by the Monchique Parish Councilwith the support of the parish and the Santa Casa da Misericórdia.

The title of the festival alludes to the name given to Monchique in the charter which established it as a municipality in 1773, and which will celebrate its 250th anniversary next January. At the time, the document formalized the name of the land as Vila Nova de Monchique.

The concerts will take place in the main church of Monchique – Igreja Matriz on December 4, with Michele Tomaz – soprano and Svetlana Bakushina – piano; in the church of Misericórdia on the 11th, with Piotr and Savva Pereverzev and Katerina Nakuripova-Pereverzeva, a concert with violin, guitar and piano; and in the Pé da Cruz church, in which all the interventions end. The church will open its doors to those who wish, after the improvement works of the building, and will attend a harpsichord concert, performed by Svetlana Bakushina, who is also the artistic director of the festival.

NOTo Apologies for the return to Arts Council England (ACE) funding cuts. Header lines are last week, but the impact of a single ad will impact lives and livelihoods for years from now. Cutting costs in difficult times makes sense. Giving new suitors, across the country, a slice of the pie is right. To chop down, in one gratuitous act, an entire forest of hard-earned accomplishments is beyond reason or redemption. To penalize a capital, one of the most populated and culturally magnetic in Europe, is economic folly, regardless of any other criticism that may be leveled.

Many problems will arise during the replication. They will be processed in the coming months. For the moment, a reminder of the most affected areas for musicians, inevitably barely mentioned in the news. Contemporary music, the future of art, has been hammered. The London Sinfonietta – more than 50 orders and world premieres in the past four years alone – lost 41% of its subsidy. Manchester Brilliance Psapha together, an invaluable platform for new work in the northwest, has had its National Holding Organization (NPO) status stripped – not one of 990 announced for the 2023-26 investment cycle eligible for a share of the £446million available across all arts. Most disconcerting of all, the incomparable Britten Sinfonia was similarly deprived: a low insult to one of Britain’s most inventive ensembles, which works closely with composers and serves the East of England and beyond.

Opera‘s losses, the bigger sums, the louder voices, got more attention, but not entirely. We should protest loudly against the cut, barely addressed, to National Opera of Wales, which is partly funded by ACE, as well as the Arts Council of Wales: a third of its ACE grant has been cut. This for a company which tours beyond Wales to Bristol, Liverpool, Birmingham, Southampton and Oxford, and which this season in particular has created some of the productions of the highest quality around. The cuts to Glyndebourne Tour Arm — the very part of the organization that embraces a wider audience across the country, as well as nurturing talent — also seems irrational.

We might assume that this country has no indigenous roots in this extravagant “foreign” art form. Not so. Last week, two new productions premiered here: Gilbert and Sullivan’s The Yeomen of the Guard (1888), engagingly staged by Jo Davies for English National Opera, was first seen at the magnificent Savoy Theatre, specially designed for G&S comic operas. Handel Alcinewhich premiered at the Theater Royal, Covent Garden in 1735, opened last Tuesday at the Royal Opera House in a sparkling new staging by Richard Jones.

ENO’s loss of NPO status caused the most outrage, and for good reason. (The Manchester move rumorsalready foreseen by excellent Opera North, have no substance yet and certainly make no sense.) The true story of ENO, its purpose and irreplaceable qualities, can never be told by the highly publicized behind-the-scenes squabbles. Instead, go check out this new Yomen, led with agility by Chris Hopkins, and examine – and celebrate – the incalculable musical and technical ingredients. (When Terry Pratchett noted that the opera happens “because a surprisingly large number of things fail to go wrong,” he was quite specific.)

This is a true “company” work, not implying cozy staleness but the opposite: a well-drilled and vigorous orchestra and choirs; singers at all stages of their careers, some with international profiles happy to return to the place that nurtured them. Take the main directors. You could write a brief summary of ENO’s scope and ambition by looking at their collective track record, with some three dozen productions between them. Strutting in high boots and breeches like Dame Carruthers, the mezzo-soprano Susan Bickley brings spirit, authority and assurance to every note sung or word spoken. His appearances range from Purcell to Berlioz via Ligeti.

The baritone Steven Page, one of the best interpreters of G&S, full of dynamism like Sir Richard Cholmondeley, is just as versatile, from Verdi to Offenbach via Henze. And the bass-baritone Neal Davies, a shrewd Sergeant Meryll, can sing Handel or Janáček or Ryan Wigglesworth with equal aplomb. ENO Harewood Artists newbies, like newcomers Innocent Masuku (Leonard) and Isabelle Peters (Kate), learn from these experts. So do the more established young talents of soprano Alexandra Oomens, mesmerizing as Elsie, and Heather Lowe, brimming with personality as Phoebe. John Molloy’s charming and eccentric jailer and Anthony Gregory as the lover, Colonel Fairfax, add verve and style.

Davies and his design team, led by Anthony Ward and (lighting) Oliver Fenwick, have mixed historical periods, between the Tudor era and the 1950s. Jack Point, terribly played by actor Richard McCabe, is a boy in teddy in a draped jacket and two-tone oxfords. At the matinee the day after the Arts Council news, the entire cast took to their encore wearing T-shirts with the slogan “Choose Opera”. The campaign started in earnest. Midweek, ENO secured an emergency meeting with Culture Secretary Michelle Donelan, calling for funding to be restored. Welsh bass-baritone Bryn Terfel has launched a similar petition. Details here. An action is scheduled for Monday at 11 a.m., gathering in front of the Colosseum, on behalf of the companies affected by the cuts. Expect the noise to increase.

The Royal Opera Alcine – here little spared in terms of space, but no admiration – rippled with delicious animal magic in Jones’ insightful, intelligent and quietly subversive production, designed by Antony McDonald, with choreography by Sarah Fahie and directed by Christian Curyn. With two witch sisters, the seductive Alcina (international star soprano Lisette Oropesa, glamorous in a sequined little black dress) and Morgana (the very popular British soprano Mary Bevan, enchantress in a punk waitress outfit), this opera reveals its considerable treasures only after a slow start. It was indeed slow, tempo-wise, but worth the wait for the mighty rollout.

Every vocalist in this attractive cast showed their mettle. Despite the title of the work, the dominant role is that of the knight Ruggiero, sung by Emily D’Angelo, always in stride but showing formidable vocal mastery. Every singer, however, had intonation issues from night one, especially at the top of their range. Could this have been partly due to the use of a modern tuning fork, instead of the much lower baroque pitch that Handel would have known? The orchestral playing was full of character, the ROH strings using baroque bows for the first time; two continuists were duly applauded at the final curtain. The biggest cheers went to 12-year-old Malakai M Bayoh as Oberto, who overcame some coarse noises to give a heroic performance: a name for the future and just try to stop it.

Star ratings (out of five)
The Yeoman of the Guard ★★★★
Alcine ★★★★

The Teatro Mayor Julio Mario Santo Domingo has deployed its 2023 program, with Spain, by extending its role as guest nation of honor. The sixth edition of the Bogotá International Classical Music Festival (April 5-8) with a focus on La Belle Époque is among the many highlights of a cultural program that brings together national and international artists of all genres.

The festival will feature works by Claude Debussy, Maurice Ravel, Lili Boulanger, Camille Saint-Saëns, Gabriel Fauré and Cécile Chaminade, among others.

The Orchester des Champs-Élysées, German singer Ute Lemper, Spanish violinist Leticia Moreno, Hungarian ballet company Győr, Colombian soprano Betty Garcés and cellist Santiago Cañón-Valencia are among the guest artists.

Teatro Mayor’s 2023 regular program has also invited renowned orchestras and soloists, including American soprano Renée Fleming, the kyiv Virtuosi Symphony Orchestra of Ukraine, Russian violinist Maxim Vengerov and Australian circus company Circa Contemporary Circus. Renée Fleming will make her Teatro Mayor debut on June 14.

Spain is represented as a guest nation of honor by the National Dance Company, the National Dance Ballet, the María Pagés Company and the National Orchestra of Spain. Within the section entitled Basque Window is the contemporary dance company Kukai Dantza.

The German singer/actress Ute Lemper inaugurates La Belle Époque with the concert “Days of Paris and Nights of Berlin”. The multifaceted entertainer was nominated for a Grammy for her classic version of the Berlin cabaret and received an Olivier for her portrayal of Velma Kelly in the West End production of the musical Chicago. More recently, Lemper has devoted most of his concert tours to performing Meeting with Marlenetribute to the story of Marlene Dietrich in words and music.

The Orchester des Champs-Élysées under the direction of Gabriella Teychenné; Austrian harpist Elisabeth Plank; the French quartet Van Kuijk; pianists Alexandre Tharaud (France) and Daniel Heide (Germany); and the Györ Ballet of Hungary with a choreographic version of Ravel’s Boléro are among the international highlights of the Classical Music Festival. National talent includes Buenaventura-born soprano Betty Garcés; cellist Santiago Cañón-Valencia; accordionist Lácides Romero, pianist Blanca Uribe, the Philharmonic Orchestra of Medellín, the Youth Philharmonic Orchestra of Colombia and the Nueva Filarmonía Orchestra.

For opera lovers, Puccini’s beloved Tosca (February 24 and 26) returns to the main stage in a co-production between the Teatro Mayor and La Compañía Estable. The three-act opera will be conducted by Pedro Salazar, under the musical direction of conductor Andrés Orozco-Estrada and the National Symphony Orchestra of Colombia. A contemporary opera version of La vida es sueño – a masterpiece by Pedro Calderón de la Barca – will be directed by Alejandro Chacón, and will create a score by Juan Pablo Carreño. The French chamber orchestra La Chapelle Harmonique will perform this work on July 21 and 22.

Les Grands Concerts features the kyiv Virtuosi Symphony Orchestra on June 6 under the direction of Dmitry Yablonsky, and in the Great Soloists series, Israeli violinist and conductor Maxim Vengerov, performs on November 18. Vengerov has been hailed among the greatest living string players on the international concert circuit.

Dynamo Théâtre du Canada will present its show À deux roues, ¡La Vie! (March 3 and 4) and Circa Contemporary Circus, Australia, will dazzle audiences with their gravity-defying Humans 2.0 (October 6 and 7).

With Spain the protagonist of another year of incredible culture, the National Dance Company will give two presentations of the ballet Giselle (January 26-29); and the National Ballet will perform La Bella Otero from May 4 to 7. These companies will be joined by the National Orchestra of Spain, with concerts on 8 and 9 September. Among the other guests from the Iberian Peninsula, María Pagés Compañía with a choreographic creation based on the literary classic Las mil y una noches (March 17 and 18); pianist Luis Fernando Pérez (June 27); and guitarist Rosalía Mowgli (August 27).

For innovative Colombian dance, L’Explose will present a new season of Carl Orff’s Carmina Burana, and singer-songwriter Llanero El Cholo Valderrama is among many artists returning to the Teatro Mayor and its musically diverse roster of concerts. .

Symphony in C Young Professional Orchestra will give an All-Mozart concert on December 3, 2022 at 8:00 p.m. This second concert of its season of guest conductors will be conducted by Joshua Hongand present soloists Alexandra Nowakowskisoprano and Clayton Stephensonpiano.

The concert opens with the famous motet for soprano and orchestra, Exsultate Jubilate, K. 165. Mozart composed it for the Italian castrato Venanzio Rauzzini in 1773 in Milan. In modern times, the motet is usually sung by a soprano. Soprano Alexandra Nowakowski, a recent graduate of the Academy of Vocal Arts, performs courtesy of the Metropolitan Opera, where she reprized roles in Verdi’s Don Carlo and Puts’ The Hours.

Pianist Clayton Stephenson performs Piano Concerto No. 23 in A major, a passionate yet intimate concerto where orchestra and piano are equal partners. Hailing from Brooklyn, NY, Clayton Stephenson’s youthful and exuberant playing earned him recognition in 2015 when he won awards at the Cliburn Junior International Piano Competition. In 2016 he won awards at the Cooper International Piano Competition and From the Top’s Jack Kent Cooke Young Artist Award. He received a 2022 Gilmore Young Artist Award, which is given biennially to the most promising American pianists ages 22 and under. The program is completed by Symphony No. 40 in G minor, K. 550, which foreshadows the nascent Romantic movement and influenced many future composers.

A two-time recipient of the Solti Foundation’s American Career Aid Award, Joshua Hong is a 2020 graduate of Rice University’s Shepherd School of Music, served as Music Director of the Campanile Orchestra and performed regularly with the Shepherd School Orchestras. Previously, he served as Music Director of the Occasional Baltimore Symphony Orchestra and Deputy Conductor of the Baltimore Chamber Orchestra.

In 2019, Joshua’s guest led the St. Louis Symphony Orchestra in two educational concerts. He served as cover bandleader for three weeks of classical subscription in St. Louis and two weeks of subscription with the Atlanta Symphony Orchestra. Joshua holds a Bachelor of Music in Violin Performance from the Juilliard School and a Master of Music in Orchestral Conducting from the Peabody Conservatory. .

Tickets are available at www.SymphonyinC.org or by calling 856-963-6683. The price range is $24 to $51. Wheelchair accessible.

Symphony in C performances and programs are made possible in part by funds from the New Jersey State Council on the Arts, Geraldine R. Dodge Foundation, William G. Rohrer Charitable Foundation, Presser Foundation, Holman Automotive Group, Horizon Foundation for New Jersey, South Jersey Charitable Foundation, TD Charitable Foundation and Subaru of America. Symphony in C is a member of the South Jersey Cultural Alliance (SJCA).

About Symphony in C:

Symphony in C is the only orchestra in the Mid-Atlantic region for talented young musicians transitioning from student to professional. Members are selected through annual competitive auditions in New York and Philadelphia. More than 100 Symphony in C alumni can be found in the greatest orchestras in the world. Others have embarked on a career as a conductor or solo artist. Performing at the Gordon Theater at the Rutgers Camden Center for the Arts in Camden, New Jersey, Symphony in C serves the Greater Delaware Valley through its critically acclaimed concert series, educational outreach programs and radio broadcasts. Symphony in C has been designated a major arts institution by the New Jersey State Council on the Arts and strives to continue to have an artistic, educational, and economic impact regionally, nationally, and globally.

FILM

Chopin: I am not afraid of darkness

Spazju Kreattiv is now screening an unusual documentary film taking the viewer on a cinematic journey through unique and grim landscapes while wondering if classical music can heal places affected by war and suffering.

The documentary weaves the stories of three exceptional pianists, a Pole, a Korean and a Syrian immigrant, who prepare special concerts where no one would expect to hear live music: in the former German Nazi concentration camp of Auschwitz -Birkenau, on the border with dictatorial North Korea and in the center of Beirut, Lebanon, just after the explosion in the port there.

Chopin: I am not afraid of darkness was awarded at the 59th Golden Prague International Festival and will be screened worldwide.

Following the screening at 7:30 p.m. tomorrow, there will be a Q&A session with the film’s producer, Maciej Pawelczyk. The Q&A session will be moderated by Polish actress Monika Jarosinska.

Another screening will take place on November 11 at 6 p.m. For tickets, log on to www.kreattivita.org.

anime festival

The Eden Cinemas in St Julian’s is once again hosting an anime festival.

One Piece: Stampede currently broadcasts in both English dubbed and Japanese with English subtitles.

For tickets and more information, click here.

MUSIC

Festivals Malta is running a program of opera and music from today until November 12.

Today, a chamber music concert will take place at the Archeology Museum in Valletta at 7:30 p.m. It will present works by Debussy, a work by Maltese composer Alex Vella Gregory, as well as a Complaint for the Ukrainian people by Canadian composer David Jaeger.

The program continues with a recital by British mezzo-soprano Sarah Connolly, with a pre-concert by soprano Nicola Said, at the Museum of Archaeology, Valletta, tomorrow at 6.30pm; a concert by the ORA Singers at the Saint-Jean co-cathedral on Thursday at 7:30 p.m.; the performance of the oratorio Rewwixta by Joseph Vella at Mdina Cathedral on Friday at 7:30 p.m.; and Handel’s opera Partenope at the Manoel Theater on Saturday and Sunday.

For more information and tickets, visit festivals.mt/ttp.

Precious Sacred Airs

Soprano Charlene Portelli will be accompanied by pianist Lydia Buttigieg during a concert at Our Lady of Victory Church, Valletta, today at 12:30 p.m.

The event is part of the series of midday concerts organized by the Barocco Foundation in collaboration with Din l-Art Ħelwa.

Title Precious Sacred Airs, today’s program includes works by Fauré, Gounod, Handel, Franck, Weber and Frisina. Buttigieg will perform two piano solos by Jenkins and Gabriel.

After the concert, patrons are invited to visit the basement cellar of the church to view a 10-minute film about the Grand Master of Valletta and his first church in Valletta.

Entry is subject to a suggested donation of €10. Tickets can be obtained before the concert on site or by emailing baroccomalta@gmail.com or calling 7968 0952.

---

VARIOUS EVENTS

Annual Model Show

The Association of Model Engineers organizes the annual model exhibition in the main hall of Kulleġġ San Ġorg Preca (ex-Maria Regina Grammar School) until Sunday, November 6.

The exhibition is open from 9 a.m. to 8 p.m. except on closing day when it closes at 5 p.m.

---

VISUAL ARTS

early light

A personal exhibition of oils on canvas by Tonio Mallia is open at Galerie 23 in Balzan until November 13.

The gallery is open Sundays, Mondays and Tuesdays from 9 a.m. to 12:30 p.m. and Wednesdays from 6:30 p.m. to 8 p.m. For more information, visit the Gallery 23 Facebook page.

white on black

Richard England, one of Malta’s foremost architects, is currently exhibiting some of his works on paper at the ART..e Gallery of 1, Library Street, Victoria.

Title white on blackthe exhibition explores the artistic aspect of an architect who has become synonymous with modernism.

The exhibition continues until November 11. Consult the the gallery’s Facebook page for opening hours.

shadows and light − The Wilfrid Flores Archive

The Christine X Art Gallery at 17 Tignè Street, Sliema is hosting the first exhibition dedicated to the work of this important photographer, who died in 1981.

Organized by photographer David Pisani, shadows and light − The Wilfrid Flores Archive explores the different themes of this pioneer of Maltese photography.

The exhibition runs until November 22. For more information, visit https://www.christinexart.com/ or the the gallery’s Facebook page.

]]> https://saturova.cz/crochet-left-bank-of-a-french-organist/ Sat, 29 Oct 2022 21:19:50 +0000 https://saturova.cz/crochet-left-bank-of-a-french-organist/

CANTON − Sunday Cantonal Symphony Orchestra the concert will feature the acclaimed black pianist michelle cann performing the concerto of a pioneering black composer.

Nathan Maslyk, symphony marketing director, said on 7 p.m. MasterWorks concert at the Zimmermann Symphony Center will celebrate the local orchestra’s commitment to diversity through music.

“This is an example of fulfilling our promise to become a more diverse organization and shine a spotlight on those who were undiscovered or underappreciated in the classical music community,” he said. .

Starting at $10, tickets can be purchased at https://www.cantonsymphony.org/. The symphony box office can be contacted at 330-452-2094. The Zimmermann Symphony Center is located at 2331 17th St. NW in Guangzhou.

After:From Beyoncé to Bach to Kurt Cobain, the cellist brings a love of all music to the Canton Symphony

Loretta was born in Newton Falls on May 21, 1931, the youngest child of Mary Baird Grohosky and Edward S. Grohosky. Educated at Warren St. Mary’s, in 1949 she married her high school sweetheart, Lawrence Albert “Larry” Ciferno at St. MaryChurch, Warren. They were married for 71 years.

Loretta and Larry lived in Warren, raised their nine children, were actively involved in their home church, Christ Our King, where Ms. Ciferno, who possessed a singing, lyrical, soprano voice, served as a leader in liturgical music for many years. . For a time, Loretta also lent her talents to the Warren Civic Chorus and the seasonal production of the “Messiah.” Loretta passed on her love of music to her children by encouraging them to study piano, guitar, clarinet, trumpet or any musical instrument of their choice. Loretta has enjoyed attending live classical and contemporary concerts throughout her life with her husband and children.

Pursuing her dream of studying to become a nurse in her late 40s, Loretta returned to school to first earn a nursing assistant degree and then completed Kent State University’s RN program. Loretta worked for years in an area hospital, in nursing facilities and as a private nurse. Caring for her family and friends has always been at the forefront of her life, Loretta has been a caregiver all her life.

After Mr. Ciferno retired in the late 1990s, the couple moved to Columbus to be closer to several of their children and grandchildren. Loretta resumed her nursing career and worked for a short time in Columbus. Eventually, Loretta retired to devote all of her time to her family.

Loretta enjoyed traveling across the United States, primarily to visit family and friends. Loretta planned and looked forward to trips to the ocean beach and Lake Erie with her children and grandchildren, as well as a trip to Italy with Larry.

Always on the lookout for a healthy path, Loretta loved going for walks and exploring the parks and botanical gardens in the Columbus area with her husband.

Family, always her top priority, occupied much of Loretta’s time, as she enjoyed supporting and attending so many of her children’s and grandchildren’s sports, music, school and extracurricular activities.

Along with many other interests, Loretta was a talented seamstress for her children and grandchildren. Loretta has lovingly gifted her family with hand-sewn treasures throughout their lives.

Mrs. Ciferno was predeceased by her husband of 71 years, Lawrence A. Ciferno; his parents; his sisters, Edna Grohosky, Sister Theresa May Grohosky, SND (formerly Sister Mary St. Cecelia) and Cecelia “Chard” Grohosky; his brother, Lt. Col. Edward Grohosky Sr.; his sister-in-law, Theresa Ciferno; and his brother-in-law and sister-in-law, Salvatore ” Sat “ Ciferno and his wife Helen Ciferno.

Loretta is survived by her nine children: daughters, Marilu Ciferno of Las Vegas, Sheila A. Ciferno of Westerville, Judy (Steve) Dardas of Youngstown, Theresa (Mario) Welcome of Columbus and Lucianne (Matthew) Sauer of Columbus; sons, Lawrence J. Ciferno of Denver, Richard (Diane) Ciferno of Richmond, Virginia, Kevin (Denise) Ciferno of Bradenton, Florida and Brian (Alison) Ciferno of Highland Heights; as well as 21 grandchildren, Christopher (Stephanie) Ciferno, Nicholas (Anna Marie) Ciferno, Alec Ciferno, Caroline Ciferno, Jonathan (Alexandra) Ciferno, David Ciferno, Laura Dankovic, Carolyn (Rob) Zirkel, Andrea (Jason) Ross, Kirsten (Jack) Burchenal, Jared (Hannah) Allen, Ashely (Oscar) Almazan Ciferno, Eric (Hillary) Ciferno, Danielle Welcome, Mitchell Welcome, Nicole Welcome, Rachel Ciferno, Justin Ciferno, Isabella Ciferno, John (Amy) Sauer and Dominic (Tricia) Sauer; and 14 great-grandchildren.

Family and friends can gather and pay their respects to Loretta from 9:30 a.m. to 11 a.m. on Saturday, October 29, 2022 at St. Mary’s Church, 232 Seneca Ave. NE, Warren.

A funeral mass will follow visitation at the church at 11 a.m. Saturday.

Interment will follow Mass at All Souls Cemetery in Bazetta.

Family and friends can visit www.peterrossiandsonfh.com to view this obituary, sign the guestbook and send their condolences to the family.

(special notice)

Sheppard believes in working hard and dedicating yourself completely to the music, no matter what. “In my twenties, I went to Paris, I played in the streets and in the metro, and at one point I lived in a room with 15 Polish refugees, who drank vodka, nonstop. But I survived thanks to my music, and it helped me build my story. As Charlie Parker so aptly put it, “If you don’t live it, it won’t come out of your horn.”

Andy Sheppard’s story has much more to draw from than his Parisian period. For one thing, he didn’t discover jazz or start playing the saxophone until the relatively late age of 19, when he was introduced to the music of John Coltrane, Miles Davis, Charles Mingus and Keith Jarrett by pianist Geoff Williams.

“I was going to art college, but Geoff said to me, ‘You’re not an artist; you’re a natural musician,” says Sheppard, 65, who already played guitar and flute. “He said, ‘Sit there. Smoke that. And listen to this. I had never taken jazz seriously – I thought it was all Acker Bilk and bow ties. But it made sense to me. I understood it immediately; I could feel the incredible energy coming from the music, especially Coltrane’s. Then I thought, ‘This is it! I want to dedicate my life to making music like that!’”

The next day, Sheppard sold everything he owned, bought a tenor saxophone, and started learning and practicing all the hours he could. Within three weeks, he had his first paid gig. He took up the soprano saxophone soon after and began to build a reputation, particularly during the British jazz boom of the 1980s, as a player of rare lyricism, invention and expressiveness. – qualities that seem to match his very engaging and easy-going personality. . It has been in the job and in demand, especially in Europe, ever since.

Describing and defining Sheppard’s wonderfully diverse music is no easy task. He has performed and written for settings ranging from solo concerts to large orchestras, chamber orchestras and a 200-piece Massive Saxophone. He has led groups of all kinds, sometimes integrating the colors and rhythms of Africa, Asia and South America; most recently, he released four atmospherically captivating albums on the prestigious German label ECM.

Sometimes described as a “serial collaborator”, Sheppard has also worked with musicians as varied as folk-blues singer-songwriter John Martyn, contemporary classical pianist Joanna MacGregor, English bagpiper and violinist Kathryn Tickell and three of the most innovative and important composers. in modern jazz — Carla Bley, George Russell and Gil Evans. The Catalan title of his 1994 album perhaps best sums up his career: Inclassificable.

This month, Sheppard is bringing a new band to Ireland for the Guinness Cork Jazz Festival. Called East Coast and featuring John Parricelli on guitar, Dudley Phillips on bass and Mário Costa on drums, the quartet is somewhat different, Sheppard says, from his more contemplative ECM bands.

“It’s a lot more ‘get stuck in, play a few tunes and screw it up’,” he laughs. “It’s kind of a kicking group!”

Much of the new music for East Coast was written by Sheppard during and in response to the pandemic – on the far west coast of Europe, near Ericeira in Portugal, where he now lives.

“My wife Sara is Portuguese and we moved here the day after the Brexit vote in 2016. I sold my flat in Bristol; felt out of place in the UK. I have always had the feeling of being part of the European jazz family and music is for me a world without borders or restrictions. England retreated; I wanted to retain a sense of freedom.

While Sheppard continued to work as much as he could during Covid, that sense of personal freedom was seriously threatened in June when he was diagnosed with prostate cancer. He underwent “radical surgery” shortly afterwards and, remarkably, after only a few months of recovery, he is now back on the road.

“I dodged the bullet and it’s great to be back,” he says, stroking the long gray goatee that now accompanies his distinctive number three buzzcut. “And thanks to this experience, I am sure that my music will have more weight and depth. Now there’s more to my story, man! »

• Andy Sheppard East Coast plays Triskel Christchurch at 8pm on Sunday October 30 triskelartscentre.ie)

Four more highlights at Triskel for the Guinness Cork Jazz Festival

• NOTIFY and Aoife Doyle, 8 p.m., Friday, October 28: Double Irish billing from the nimble contemporary trad six-piece ensemble NOTIFY, fronted by talented concertina player Pádraig Rynne, and upcoming and beyond jazz vocalist Doyle.
• Amaro Freitas, 2 p.m., Saturday October 29: 31-year-old piano sensation whose intricate rhythms and thrilling percussive playing are “pioneering the new sound of Brazilian jazz.”

• Ralph Towner, 8 p.m., Saturday, October 29: rare solo performance by the former acoustic guitar statesman, a modern master whose worldview encompasses jazz, classical, folk, Brazilian music and more.
• Sélène Saint-Aimé, 2:30 p.m., Sunday, October 30: Every festival should have its total surprise and unexpected discovery – the irresistible double bass player and Afro-French/global jazz singer Saint-Aimé could well be both.