Event type: Music

Guitarist and composer (and also session guitarist, audio engineer, music producer and entrepreneur) Yuval Ron performs original tunes that transcend the boundaries of any specific musical genre. Inspired by a crossover of modern jazz-rock, progressive music, cinematic and orchestral music genres, it is all well blended into an own fresh and distinct musical direction, best described as Cinematic Prog or Fusion.

The music features virtuosic performances of various compelling and colorful compositions, produced on top of richly arranged orchestral, some say sci-fi film-like backgrounds, atmospheric soundscapes and various sound effects drawing the listener into a total, electrifying experience.

The compositions place a constant emphasis on harmonic richness and rhythmical sophistication, while maintaining a fine balance between intricately detailed group arrangements and the players’ individual expression.

“Playing ambitious instrumental music, drawing on eclectic influences and oozing virtuosity, they surprise many here with how astounding they are…. The Yuval Ron Trio are simply out of this world.” – Gary Mackenzie, Prog Magazine

“It’s there on the final frontier, equipped with astral, analog synthesizers, arresting time signatures, and a generous helping of self-satire.” – Kate Koenig, Premier Guitar

“In my book one of those albums to take out when you encounter people that state that “no, jazzrock isn’t my thing” that may well change their minds.” – Olav Björnsen, Progressor

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Supported by Initiative Musik GmbH with project funds from the Federal Government Commissioner for Culture and Media, Germany.

More than any other musician, Beethoven (1770 – 1827) changed the course of music. After his death, nothing was the same again. He inhibited later composers who felt that they couldn’t compete with his intellectual rigour and outstanding imagination. Unlike previous composers, none of his works sounds like another. Even his first three sonatas, published when he was thirteen, are noticeably individual.

Just as he was consolidating his reputation, the signs of deafness began to plague him: the most cruel fate for a musician. By the time he wrote the Emperor Concerto and his seventh symphony he was unable to hear with any clarity. Although the greatest pianist of his time, he did not play this last of his concertos because he could not hear the orchestra or keep in time with them. Yet his spirit remained undaunted and he went on to write what many consider to be the finest of all symphonies, sonatas and string quartets.

Piano Concerto no. 5 in Eb, opus 73.

Is this the greatest concerto of them all? Quite possibly. Certainly it’s written on a very grand scale from the majestic opening to the piano’s final flourish. Between the two comes a slow movement of exquisite lyricism which leads, without a break – and this was an innovation – into the lively finale. The nickname Emperor was not given by the composer but does suit the piece, written at the height of his powers, in 1809.

Symphony no. 7 in A, opus 92.

This occupied Beethoven during 1811-12 and has been called, by some authorities, his Dance Symphony. Each listener can decide for themselves as the four movements progress, but it particularly applies to the toe-tapping last movement. As always, with this composer, each of his pieces is unique. He set himself a different challenge in each one. Although the concerto and symphony were written within a four year period they sound quite different from each other while still having all the musical fingerprints of the composer.

Born in 1770, he died in 1827 which means his bi-centenary arrives in only two years’ time. Look out for our series of concerts that season celebrating this important event.

EBB

EBB were a band, the Erin Bennett Band, who played pop-rock. But they kept straying off into Prog Rock and ruining it. So they finally listened to their own voices and went full Prog. You couldn’t get a happier bunch of puppies. Writing and rehearsing within an arts collective makes impromptu, noisy jam sessions a little easier than, perhaps, for those who live with intolerant neighbours, families, dogs and hamsters. The resulting music performance and, these days, video and live actors, is best described as bespoke, rather than pleasingly generic. In other words, one likes it or one doesn’t. Rest assured, the band members themselves will be having a great time! Living in Scotland but hailing from all around the world, the band get on with each other irritatingly well. Also, they can’t wait to meet you!EBB were voted Prog Magazine’s Best New Band 2023.

 
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The John Hackett Band

The John Hackett Band embodies the spirit of progressive rock. From John’s pastoral flute textures, through the funky interplay between drummer Duncan Parsons and bassist Jeremy Richardson to the intricacies of Nick Fletcher’s lead guitar the group embrace pop, rock, jazz, classical, funk and all stops in-between, from the tenderest of ballads to hair-raising instrumental workouts!

The choirs of Liverpool Cathedral and Liverpool Metropolitan Cathedral, accompanied by the Liverpool Mozart Orchestra, join together to sing Handel’s choral masterpiece ‘Messiah.’

Soloists Kelsey Thomas (soprano) Danny Townley (alto) Stefan Kennedy (tenor) and Joe Murphy (bass) were all born and educated here in Liverpool.

Conductor Richard Lea will lead the choirs, orchestra and soloists through some of Handel’s best loved movements such as ‘I know my redeemer liveth’ the ‘Hallelujah Chorus’ and ‘Worthy is the Lamb.’

All are invited to experience this unique Liverpool tradition of the Two Cathedrals Messiah on Saturday 11 October.