Concert projects

Listed in reverse chronological order

LUDWIG: quasi una fantasia (2019)

for piano and string quartet

Duration: c. 60 minutes

A dream-like musical journey of illusions and fragments, including works by Ludwig van Beethoven – solo piano, string quartets, and transcriptions of orchestral works – as well as music by Charlie Barber. The performance is continuous and lasts approximately 60 minutes.

First performed on 17 November 2019 at Cardiff University Concert Hall with Giordano Ferla (piano), Christiana Mavron (violin), Rachael Elliot (violin), Niamh Aston (viola), Nicola Thomas (cello)

17.11.19CARDIFFUniversity Concert Hall
26.07.21WORCESTERThree Choirs Festival

Further information, videos and photos here

Radio Amore (2018)

– a live mix of British and Italian music

for oboe, string quartet and double bass

Duration: c. 60 minutes

Inspired by live mixes and late-night radio broadcasting, and evocative of the sizzle and crackle that accompanied new musical discoveries on a bakelite tuning dial, Radio Amore is designed as a musical journey – a voyage of wonder, vitality and emotion.

First performed on 5 October 2018 at Swansea Festival with Michele Batani (oboe), Mavron Quartet, Ashley John Long (double bass)

05.10.18SWANSEAInternational Festival
06.10.18CARDIFFSt Teilo’s and St Andrew’s Church
11.10.18ABERGAVENNYThe Chapel
12.10.18KNIGHTONThe Bleddfa Centre
13.10.18HOLYHEADUcheldre Centre
14.10.18LIVERPOOLCapstone Theatre
15.11.19CARDIFFInsole Court, Llandaff

Further information, videos and photos here

The Tempest (2016)

for countertenor, baroque oboe, sackbut, 2 viola da gamba, violone and harpsichord

Duration: c. 60 minutes

Featuring British music composed for various productions of The Tempest, from the baroque period to works by contemporary composers, the performance explores the play’s themes of magic and theatrical illusion through music, visual art and magic lantern.

The programme includes music by Henry PurcellMatthew LockeThomas LinleyMichael Nyman and Charlie Barber.

First performed 4 May 2016 at Malvern Theatres with Matthew Venner (countertenor), Jane Chapman (harpsichord), Nicola Barbagli (baroque oboe), Martyn Sanderson (sackbut), Ibi Aziz, Sam Stadlen (viola da gamba), Jan Zahourek (violone)

07.05.16HOLYHEADUcheldre Centre
08.07.16YORKEarly Music Festival
08.11.16OXFORDHolywell Music Room
09.11.16BATHSpa University
10.11.16CARDIFFRoyal Welsh College of Music & Drama
11.11.16LIVERPOOLCapstone Theatre, Hope University

Further information, videos and photos here

Afrodisiac (2010)

b cl, 2 perc, pno, vla, db, singer

Duration: 70 minutes

Afrodisiac features an ensemble of seven classical musicians performing alongside two highly respected artists of traditional African instruments: Seckou Keita, an inspired and charismatic performer of the kora (the West African harp-lute) and Chartwell Dutiro, a maestro of the mbira, (the Zimbabwean ‘thumb piano’).

Afrodisiac is a personal journey and exploration of ritual, love and magic through the cultures of Africa and the African diaspora, combined with film of the magical ‘Imaginative Realism’ paintings of Cuban artist Raul Speek.

First performed by Sound Affairs at Lyric Theatre, Carmarthen on 14 October 2010
with Rhiannon Llewellyn (soprano), David Jean-Baptiste (bass clarinet), Sacha Johnson (percussion), Jonathan Helm (percussion), Semra Kurutaç (piano), Niamh Ferris (viola) and Ashley John Long (double bass)

14.10.10CARMARTHENThe Lyric
15.10.10CARDIFFUniversity Concert Hall
16.10.10SWANSEATaliesin Arts Centre
20.10.10MOLDClwyd Theatr Cymru
21.10.10PWLLHELINeuadd Dwyfor
22.10.10HOLYHEADUcheldre Centre
25.10.10LONDONSouthbank Centre, Purcell Room
30.10.10COLCHESTERLakeside Theatre

“Imagined over the course of a night – its opening incantation for sunset returning at sunrise – the succession of 17 pieces invoke African gods and spirits  alongside pieces based on fragments of early Christian music. Barber’s Sound Affairs ensemble has a parallel range of traditions: the muted tones of viola, double bass and bass clarinet are sharpened not just by keyboard and percussion but by the kora (the west African harp-lute) and the mbira (the Zimbabwean thumb piano). These two were the focus of an early pair of pieces, Jaliya and Mbira Music, allowing the ear to tune into their individual timbres as they emerged throughout the sequence. Ostinato rhythmic patterns bordering on jazz were particularly engaging, with the lively beat of Afoxé adding a South American perspective.”
Rian Evans, The Guardian, 19 October 2010

Further information, videos and photos here

Copyright © 2022 Charlie Barber. All rights reserved.

%d bloggers like this: