For several years, Scottish Voices has given a performance at the Animusic Congress and Festival, held at various locations in Portugal (eg Braga, Tavira, Porto, Caldas da Rainha and Belmonte). The photo on the landing page of this website was taken in the auditorium of the Museu Jose Malhoa in Caldas da Rainha on July 5, 2018.
European University of Cyprus
Scottish Voices visited the Music Department of the European University of Cyprus in 2014 and gave the first performance of Graham Hair’s Mediterranean Songs there.
The website of the Music Department of the European University of Cyprus is at the following web address:
Click Here to view the website of the Music Department of the European University of Cyprus
Annini Tsiouti, Pianist
Annini Tsiouti studied piano and chamber music at the École Normale de Musique de Paris and at the Conservatoire de la Ville de Paris where she was awarded a scholarship by the city of Paris. She also studied Musicology at the Sorbonne University, where she focused her research on 20th century music and more specifically on the piano works of Greek composer Nikos Skalkottas. From 2008 Annini lived and worked in Nicosia, Cyprus, where she was very active as a teacher, solo pianist and accompanist. More recently she has again resided for part of each year in Paris. She appears regularly in concerts throughout Europe and the Middle East, and has given first performances of many works by Cypriot composers.
Annini first played with Scottish Voices at the European University of Cyprus in Nicosia in 2014, since when we have invited her to perform with Scottish Voices and the Scottish Clarinet Quartet in Edinburgh and Glasgow.
Stephen Altoft, Trumpet
Trumpeter Stephen Altoft, resident in Freiburg, Germany, played with Scottish Voices at the Animusic Portugal Congress and Festival in 2014. We anticipate collaborating with him again in future.
Further information will appear here.
We acknowledge here the work of musicologist Jörg Fiedler.
Jörg has provided an image of a well-known harpsichord piece (Sofeggieto, by CPE Bach) and two audiofiles of performances of its opening section. The audiofiles are of performances played by 4 different harpsichords, tuned to 4 different temperaments.
The performances seem to show that, much of the time, the differences of temperament have only a minor effect on our perception of the piece: the differences come into play only when the notes are rather long (cf audio example 1), or when the tempo is rather slow (cf audio example 2).