Scordatura Women’s Music Collective New Connections: music by Yfat Soul Zisso, Cecilia McDowall, Judith Weir, Nadia Boulanger, Paulina Mikolajczyk
Cat Hope Pure for found object, orchestra and subtones (2014-16)
Devised by Kelly Lovelady
Performed by Ruthless Jabiru, Jeremy Barnett found object
Live recording by Apple & Biscuit
Originally posted at Meet the Artist:
Who or what inspired you to take up conducting and pursue a career in music?
Conducting felt inevitable for me as a teenager: a natural evolution despite my oblivion at the time to everything it would eventually entail! The realisation was unceremonious- not really a dream or desire but a moment of clarity. I was lucky to find my two conducting teachers in the years that followed and both continue to mentor me almost 18 years on.
Who or what have been the most important influences on your musical life and career?
I think my tastes and philosophies are largely the result of producing my own work. When you find yourself responsible for every detail you start to reconsider the possibilities. If your self Continue reading
Originally posted at BBC Radio London:
Author Dawn O’Porter chats about on her new novel, Kelly Lovelady discusses the demands of a female conductor and Annie Beckett talks about living with an alcoholic mother.
Originally posted at Musochat:
Host: Kelly Lovelady (@KellyLovelady)
How do we perpetuate our projects in austerity conditions? Should we dull our originality and politics to attract commercial branding and government grants? Fossil fuel companies are buying into our performance venues to bury their social and environmental crimes. Can the uprising towards an oil-free cultural sector start with us: the artists?
Originally posted at Artisan Accounts:
As part of our endeavor to support International Women’s Day we begged some of our most inspiring female clients to contribute a blog, here Kelly Lovelady from the inimitable Ruthless Jabiru explores change and power.
It is a truth universally acknowledged that ye olde worlde of conducting is overwhelmingly male. The pride and prejudice of the orchestral podium is, to collate the many confounded observations I’ve collected over the years, a beaming anomaly even to those with little or no concert-going experience.
Gender biases in so-called “classical” music are ultimately borne of a performance ritual which reveres and respects its own history so deeply that it continues to perpetuate the quirks of concert culture as it stood in its infancy almost 200 years ago.