The Will Gregory Moog Ensemble will be performing at the British Library in a special show to accompany the Library’s exhibition Beethoven: Idealist. Innovator. Iconand to celebrate the 50th anniversary of Wendy Carlos’s remarkable score for A Clockwork Orange.
“If he [Archimedes] was around today and witnessed this performance, it could safely be assumed he would agree that Gregory et al have made a damn fine attempt to square the circle.”
“The polyrhythms and time signatures weaved in and out while the layers of harmonics danced around the room. An almost symbiotic relationship now permeated our time and space. It was commanding when it needed to be, but delicate and subtle in places often transitioning through the intervention of presenter Helen Arney.”
BBC Hoddinott Hall, Cardiff, Friday 26th November, 7.30pm – book tickets here
Fusing electronic and orchestral music with Archimedes’ principles, join the Will Gregory Moog Ensemble, Helen Arney and the BBC National Orchestra of Wales for a scintillating night of music.
Speaking ahead of the concert, Will Gregory said:
“Firstly this is the first time we’ve performed together in two years, so it’s a joy to be back as an ensemble. Secondly this will be a massive experiment to see what happens when you put 10 analogue synths into a full orchestra. Over the 9 pieces we will play there are a full range of different combinations between the Moogs and The BBC National Orchestra Of Wales exploring all kinds of permutations between us, from Synth bass with bass trombones and tuba, to wild hi Si Fi lines with the violins.
The synths have a larger range of high to lows than any orchestral instrument, so one test is to see what happens with this combined sonic spectrum. But also the sheer energy and excitement that comes from adding us together to produce more than the sum of the parts will be what we are hoping to achieve. Plus we are combining science and music in a new and experimental way too, by having Helen Arney explaining nine of Archimedes greatest achievements each followed by a kind of audio description in music to bring home the drama and brilliance of his thinking.”
Writer, science presenter, geek songstress and ‘Voice of an Angle’ Helen Arney steps to the fore to present this unique event. A familiar face to many, she has appeared on TV, Radio and in theatres across the world with her unique mix of stand-up, songs and science, plus tours with science comedy phenomenon Festival of the Spoken Nerd.
This concert is the perfect evening for those who enjoy listening to the most iconic synthesiser, and hearing about one of the world’s greatest mathematicians!
We are very excited to announce our next show! We’ll be performing with BBC National Orchestra of Wales on Sunday 5 April at DEPOT in Cardiff.
Team WGME will be moving out of the usual synth semicircle for a concert where audience members will have the chance to get up-close with our synths and the incredible musicians of BBC NOW by walking around the venue for a synth and orchestral experience like no other. Head over to Will to hear his Minimoog Model D in action, venture towards Ross to check out his Roland Promars Compuphionic MRS-2 which he had specially modified, or be right beside Simon on his Akai EWI5000 – catch the action like never before!
Also performing will be acclaimed classical Australian saxophone star, Amy Dickson and heartthrob Welsh tenor Tristan Llyr Griffiths.
Featuring Prokofiev ‘Dance of the Knights’ (The Apprentice theme tune) and Beethoven ‘Scherzo from Symphony No 9’ (A Clockwork Orange) plus lots more.
For more information and to book tickets click here.
“Synths are brilliant for these kinds of extremes. In this piece I’m using the instrument’s ability to make notes appear from, and disappear into, silence……”
….Composer & fellow Mooger Eddie Parker wrote a beautiful piece for the WGME called ‘Oceans of Heaven’
Listen to ‘Oceans of Heaven’ on our YouTube channel and read more about the piece in the description below by Eddie.
“At one point I was thinking about musical images on a superhuman scale – like how continuously falling scales could depict a waterfall (there is an aural effect called the “Shepherd Scale”, the ascending version of which was used at the end of Pink Floyd’s Meddle, which is a demonstration of this); or how mountains might be depicted by infinitely sustained notes (we nearly had a project in a mine in North Wales one time which I was beginning to think about); and in “Oceans”, great mid-ocean waves.
At the top of each wave the harmony changes, and during the course of the piece there is a tonal journey leading gradually through vast conflicting currents and gyres, to the eventual calming warmth of pan-diatonic rest.”