Virtuoso violinist and recorder player Laura Cannell sees off her ‘Year of Lore’ series with a frosted flourish in four succinct works appropriately toned with wistful, seasonal melancholy and sleigh bells
Concurrent to her larger album projects of 2024 - a stunning duo with Nirvana cellist Lori Goldston, and dedication to medieval mystic Hildegard Von Bingen - the monthly ‘Year of Lore’ project presented diaristic extracts from Cannell’s studio workshop in rural Norfolk. Following a similar schematic to 2021’s monthly entries, but with a focus on the region’s folk lore, the series is a prime showcase for fine-honed improvised tekkerz that also prompt her to enchanting degrees here.
‘The Drones of Winterlore’ open the series’ final missive with plaintive phrases teased into a plangent play of echo and decay that almost layers up into a jig; ‘Catch Me the Cutty Wren’ introduces the first frisson of sleigh bells on a more brooding melody traceries out into Norfolk’s endless flatlands; the slow wheeze of ‘The Monsters Who Stole the Sun’ feels more enervated, SAD-afflicted in its sallow sway; and ‘On the Twelfth Day of Christmas’ the twelve drummers are absent, but the sleigh bells return to shiver over lemniscate string loops that tie a ribbon bow on the imagination.
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Virtuoso violinist and recorder player Laura Cannell sees off her ‘Year of Lore’ series with a frosted flourish in four succinct works appropriately toned with wistful, seasonal melancholy and sleigh bells
Concurrent to her larger album projects of 2024 - a stunning duo with Nirvana cellist Lori Goldston, and dedication to medieval mystic Hildegard Von Bingen - the monthly ‘Year of Lore’ project presented diaristic extracts from Cannell’s studio workshop in rural Norfolk. Following a similar schematic to 2021’s monthly entries, but with a focus on the region’s folk lore, the series is a prime showcase for fine-honed improvised tekkerz that also prompt her to enchanting degrees here.
‘The Drones of Winterlore’ open the series’ final missive with plaintive phrases teased into a plangent play of echo and decay that almost layers up into a jig; ‘Catch Me the Cutty Wren’ introduces the first frisson of sleigh bells on a more brooding melody traceries out into Norfolk’s endless flatlands; the slow wheeze of ‘The Monsters Who Stole the Sun’ feels more enervated, SAD-afflicted in its sallow sway; and ‘On the Twelfth Day of Christmas’ the twelve drummers are absent, but the sleigh bells return to shiver over lemniscate string loops that tie a ribbon bow on the imagination.
Virtuoso violinist and recorder player Laura Cannell sees off her ‘Year of Lore’ series with a frosted flourish in four succinct works appropriately toned with wistful, seasonal melancholy and sleigh bells
Concurrent to her larger album projects of 2024 - a stunning duo with Nirvana cellist Lori Goldston, and dedication to medieval mystic Hildegard Von Bingen - the monthly ‘Year of Lore’ project presented diaristic extracts from Cannell’s studio workshop in rural Norfolk. Following a similar schematic to 2021’s monthly entries, but with a focus on the region’s folk lore, the series is a prime showcase for fine-honed improvised tekkerz that also prompt her to enchanting degrees here.
‘The Drones of Winterlore’ open the series’ final missive with plaintive phrases teased into a plangent play of echo and decay that almost layers up into a jig; ‘Catch Me the Cutty Wren’ introduces the first frisson of sleigh bells on a more brooding melody traceries out into Norfolk’s endless flatlands; the slow wheeze of ‘The Monsters Who Stole the Sun’ feels more enervated, SAD-afflicted in its sallow sway; and ‘On the Twelfth Day of Christmas’ the twelve drummers are absent, but the sleigh bells return to shiver over lemniscate string loops that tie a ribbon bow on the imagination.
Virtuoso violinist and recorder player Laura Cannell sees off her ‘Year of Lore’ series with a frosted flourish in four succinct works appropriately toned with wistful, seasonal melancholy and sleigh bells
Concurrent to her larger album projects of 2024 - a stunning duo with Nirvana cellist Lori Goldston, and dedication to medieval mystic Hildegard Von Bingen - the monthly ‘Year of Lore’ project presented diaristic extracts from Cannell’s studio workshop in rural Norfolk. Following a similar schematic to 2021’s monthly entries, but with a focus on the region’s folk lore, the series is a prime showcase for fine-honed improvised tekkerz that also prompt her to enchanting degrees here.
‘The Drones of Winterlore’ open the series’ final missive with plaintive phrases teased into a plangent play of echo and decay that almost layers up into a jig; ‘Catch Me the Cutty Wren’ introduces the first frisson of sleigh bells on a more brooding melody traceries out into Norfolk’s endless flatlands; the slow wheeze of ‘The Monsters Who Stole the Sun’ feels more enervated, SAD-afflicted in its sallow sway; and ‘On the Twelfth Day of Christmas’ the twelve drummers are absent, but the sleigh bells return to shiver over lemniscate string loops that tie a ribbon bow on the imagination.