Salon Without Boundaries presents...
Wednesday 14th November 2018
Tickets: £20, concessions £18
(includes a complimentary drink, nibbles and cheese board)
Salon Without Boundaries presents its inaugural live Salon - an entrancing mix of music, poetry, conversation and exploration of works by women created in response to the natural world. Led by Salonières Dr Briony Cox-Williams (piano) and Pierrette Thomet (mezzo), the programme includes music by Fanny Hensel, Pauline v. Decker and Jenni Pinnock, poetry by Elizabeth Lewis Williams, and a unique opportunity to hear Kate Heard, Senior Curator of Prints and Drawings at the Royal Collection Trust, talk about Maria Merian - 17th Century artist, entomologist and intrepid explorer. Representing the many ways in which women have and are responding to the natural world, our Salon looks across disciplinary boundaries and makes connections across time. And in addition, true to Salon tradition, we'll share food, drink and conversation.
Dr Briony Cox-Williams
Briony Cox-Williams is a Kiwi/Irish musician and researcher and Postgraduate Tutor at the Royal Academy of Music. She studied first in New Zealand, where she also worked as a free-lance accompanist, before emigrating to the UK in 1994. Since then she has continued a busy concert schedule, both as a soloist and as a chamber musician, working with instrumentalists and singers. She has given concerts throughout Britain and Europe, with a particular concentration on Lieder and neglected piano repertoire of the nineteenth century.
A chance encounter with the music of Fanny Hensel on a library shelf led to a passion and fascination with this repertoire and how it tells stories that are currently seen as missing from the creative canon, and by extension, with the vast body of largely unknown works by women of the past. Briony has had the opportunity to introduce many previously unknown composers to British audiences, such as the songs of Pauline von Decker, Jeannette Bürde and Emilie Goroncy.
As a scholar, she has published articles on women composers and on nineteenth-century performance practice in song. She is currently working on a book about the 19th-century salon, looking at ways in which salon culture offers a unique performance practice rather than a musical language.
Pierrette Thomet is a singer, artist and founder/director of WAM - Weather Arts and Music, an award-winning initiative affiliated to the Royal Meteorological Society. Her musical interests as a mezzo range from the Baroque repertoire through to Broadway classics, with particular emphasis on German, French, Italian, English and Spanish art songs. Her recital programmes are built around a core theme explored both through music and cross-disciplinary approaches, including collaborations with scientists, to deliver an enhanced narrative experience for her audiences.
In her art and photography, Pierrette explores her relationship to landscape and the natural world, memory, and identity through a variety of media, including collage, mixed media, lomography, printmaking, oils, and acrylic. She also works in mask-making and woodcarving.
In her capacity as founder/director of WAM - Weather Arts and Music Pierrette works with partner organisations such as the Royal Meteorological Society, the University of Exeter, the Met Office and partners in the arts to deliver innovative events centred around our relationship with the weather and climate. WAM events explore weather and climate in a variety of ways and allow the public direct and unmediated access to the science of climate change, as well as access to a range of artistic responses and activities aiming to find new ways to talk about this most pressing of global challenges.
Elizabeth Lewis Williams
Elizabeth Lewis Williams studied English in Oxford, and is a graduate of the MA Creative Writing programme at the University of East Anglia where she won the prize for the best dissertation.
Brought up in Shetland, she has never lost her love for remote islands and the sea. She has been a teacher for over twenty years, in schools as diverse as Colegio Britanico de Cartagena, Colombia, and Charterhouse, England, and she remains actively involved in writing and education, giving workshops and readings of her poetry.
Having been awarded AHRC funding, she is currently working towards a Creative-Critical PhD at the UEA. Her writing has been published in The Fenland Reed, Lighthouse and The Red Wheelbarrow and some of her writing about the Antarctic can be found at firstname.lastname@example.org.
British composer Jenni Pinnock’s music has been described as ‘refreshing’, ‘imaginative’ and ‘tantalizingly beautiful in smoothness and soul’. Quirky time signatures, soaring melodies and moments of quiet stillness can all be found within her music which has received performances both across the UK and around the world. She is passionate about music in all forms, and loves writing for and collaborating with artists and musicians – be they beginners, amateurs or seasoned professionals. Giving performers the artistic freedom to make the music their own is an important element of her work.
Jenni studied at Kingston University and Trinity Laban Conservatoire of Music and Dance. In recent years she has had works performed by the Aldworth Philharmonic Orchestra, Red Note Ensemble, the Quangle Wangle Choir (as part of Adopt a Composer 2013/14) and Equinox Voices. In 2017 Jenni and writer Graham Palmer were funded by the Arts Council Grants for the Arts scheme and PRS Foundation’s Open Funding to create Cracked Voices – a one hour long, 12 song song cycle based on forgotten characters from the borderlands of Hertfordshire and Cambridgeshire. She was also commissioned as one of a team of three composers to write songs for Ada Lovelace- the Musical, and her carol Christmas Bells was recorded by the Kantos Chamber Choir for their Silver Stars at Play album.
Jenni is currently working on a commission for the centenary of the Great War, a suite of weather-related piano pieces and on rearranging the Cracked Voices pieces for choir (part of the Cracked Voices legacy)
Alongside composing, Jenni teaches music and composition to all ages. She is also a mentor for Making Music’s Adopt a Composer scheme.
Kate Heard is Senior Curator of Prints and Drawings, Royal Collection Trust. She was the curator of the 2016–17 exhibition Maria Merian’s Butterflies and author of the accompanying publication. Her other exhibitions have included The Northern Renaissance: Dürer to Holbein (co-curator) and High Spirits: The Comic Art of Thomas Rowlandson. She is Deputy Editor of the Journal of the History of Collections.
Salon Without Boundaries