Prima Volta
is an exceptional trio of Guildhall graduates who enjoy successful music
careers. Together, Simon Gilliver (flute), Miguel Tantos (trombone) and Drew
Balch (viola) do the unthinkable: they perform entirely improvised full-length concerts.
Prima Volta’s philosophy is that there are no wrong notes – only unexpected
notes. Each unexpected note is an opportunity to develop – a little turn en
route which makes music all the more exciting and interesting. Within this
supportive context of free experimentation and adventure, musicianship
flourishes and possibilities are endless.
In January, I
attended Prima Volta’s workshop and concert in Bishop’s Stortford,
Hertfordshire, and was drawn into the exhilarating world of improvisation. Our
first task was a musical question-and-answer game, in which we responded
individually with our instruments, in a given key, to a phrase played by Simon,
Miguel or Drew. The trio’s warmth and encouragement put everyone at ease. We later
honed our skills in small groups, improvising in multiple parts and even
delving into key changes.
Improvising
can be scary, as any risk-taking activity is, but it is also hugely rewarding.
It requires a willingness to let go, and to work with what emerges rather than
striving for instant ‘perfection’. Most of the participants were of high school
age, and it was humbling to see the courage with which they expressed their innate
musicality. We don’t always realise it, but we all absorb the musical languages
we hear, and are capable of creating music within and indeed beyond them.
I wasn’t sure
what to expect of Prima Volta’s evening performance. There was not a piece of
sheet music to be seen, nor had anything been learnt previously; all the music
was spontaneous. I feared it might become a little too off-the-wall, or even
too samey after a while. However, the programme was enthralling and showcased a
range of styles, from Baroque to jazz to avante-garde.
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| Breaking down barriers: Prima Volta Ensemble www.primavoltaensemble.com |
The concert
began with an overture on five notes, followed by a fantasia on two ring-tones
provided by the audience. Already, we
were spellbound. The combination of flute, viola and trombone worked
surprisingly well, and no instrument was ever overpowered by another. The trio almost danced as they passed musical
ideas back and forth; one rising to prominence, another fading away.
During the
course of the evening, we were treated to a two-part invention, variations on Humpty Dumpty, a three-movement sonata,
and an extemporisation on Verdi’s Chorus
of the Hebrew Slaves. We also
enjoyed an avant-garde piece based the audiences’ rules: Miguel had to hold his
trombone the wrong way around, Simon could only use his headjoint, and Drew could
only use one string of his viola. A highlight for us participants was
performing a unique version of Cinderella
which we had developed earlier in the day.
One of my
favourite items was a ‘Dance Sweet’. Far from the traditional suite, this
consisted of audience suggestions of a Minuet, Habanera, Waltz, a Tarantella,
and a Tango which featured the flute playing over a brilliantly percussive
trombone and viola foundation. The trio also asked the audience to give them a
story to improvise on. With obvious delight, Prima Volta ensured that we could hear
a grouchy bear called Bruno (trombone) plodding along in search of honey. A bee (viola and flute) emerged out of a
bee-hive, buzzing frenetically before meeting its untimely end in the bear’s
stomach.
I left the concert
venue that night energised by the consummate musicality and breath-taking moments
of risk that I had witnessed. I knew that I would never hear that particular
music performed again, and, actually, I was strangely grateful – it made the
experience all the more precious.
Prima Volta
is holding another workshop and concert on 31 May 2014 at St Giles Church,
Camberwell (London). I highly recommend going! The concert will only be £3, and free for under-16s.
For more information, see:
