Composers: Michael Wolters | Paul Norman Artists: Michael Wolters voice | Paul Norman voice | Cobalt Duo
Tom Lessels clarinet
Kate Halsall piano
Genevieve Wilkins percussion
Rebecca Hepplewhite cello
Celine Saout harp
Nicola Summerscales alto flute
Samantha Wickramasinghe violin
Jessica Beeston viola
Matthew Schellhorn piano
Guardian review, 9th November 17 ‘Wry, understated and slightly bonkers‘
Fumiko Miyachi, Ian Porthouse, Jack McNeill, Kate Halsall, Suzie Purkis
Antoine Beuger’s ‘Ockeghem Octets’ (2005), played by Ryoko Akama (melodica), Seamus Cater (concertina), Kate Halsall (harmonium), Sarah Hughes (e-bow zither), Ecka Mordecai (cello), Harriet Richardson (flute), Leo Svirsky (accordion) and Kathryn Williams (alto flute). CD release on Another Timbre, June 2017
Guardian review, 6th July 17 “tender and heroically controlled”
Released on Metier in 2016, Kate commissioned composers Philip Cashian, Katharine Norman, Naomi Pinnock, Andrew Poppy and Colin Riley. The music for two pianos incorporates video, text, improvised/notated material, extended techniques, ghost pianos and resonating objects, ensemble and electronics. There are 17 Maché short pieces, forming a multi-composer series of remixed ‘concertos’, taking material from Calls for scores and developing ideas and interpretations, produced and mixed by Kate and James Waterworth. Pianists are Kate Halsall, Fumiko Miyachi, Marjolaine Charbin and Martin Butler and Rachael Ueckermann.
Quantulum (2012) for acoustic piano duo, commissioned 6 emerging female composers working with spoken word, sonic manipulation, improvisation and extended techniques and was supported by Arts Council England and Aldeburgh Music. Music by Kerry Andrew, Ailís Ní Ríain, Christine Abdelnour, Yuko Ohara, Elo Masing and Helena Gough.
Commissioned pieces by UK composers Duncan Macleod, Andrew Morgan, Colin Riley, Jamie Telford and Peter Wiegold, Triple Point is released on Squeaky Kate Music.
‘Energetic and at times downright cheeky … as accessible as it is intellectual and as felt as it is thought’ Andy Robson, Jazzwise, 2009
‘Restless, intricate rhythms … absorbing and gently hypnotic. The avant garde shows its happy face.’ John Bungey, The Times, 2009