| Lawrence Power | viola |
|---|---|
| Simon Crawford-Phillips | piano |
| Jan Holý | Sententiae Iocosae [World Premiere] |
|---|---|
| Miharu Ogura | KOE II [World Premiere] |
| Alisa Zaika | punktury [World Premiere] |
| Angela Slater | RED [World Premiere] |
| Dominic Wills | Sonata [World Premiere] |
| Daniel Reza Sabzghabaei | (دانیال رضا سبزقبایی) – پهلو-به-پهلو (pahlū-beh-pahlū) "side-by-side" [World Premiere] |
| Julia Perry | Viola Sonata [World Premiere] |
The culmination of V10LA Day brings together two remarkable celebrations of the viola: the unveiling of new musical voices and the rediscovery of a lost masterpiece.
Presented by internationally acclaimed violist Lawrence Power and pianist Simon Crawford-Phillips, this special evening concert features the world premieres of six winning works from the inaugural Viola Commissioning Circle Composers Prize. Selected from more than 150 submissions by composers aged 16–82 from around the world, these works represent some of the most exciting and distinctive voices in contemporary music, showcasing the creativity, diversity and future of the viola repertoire.
The concert culminates in the world premiere of Julia Perry’s recently rediscovered Viola Sonata, performed by Lawrence Power and Simon Crawford-Phillips. Lost for decades and only recently brought to light, this extraordinary work offers audiences a rare opportunity to experience a remarkable chapter of musical history and hear an important addition to the viola repertoire for the very first time.
Combining bold new commissions with a long-silenced masterpiece, this unique concert celebrates the viola’s past, present and future in one evening.
This event will last for approximately 2 hours including an interval.
Kings Place Concessions Tickets
We want to ensure that people who may be struggling financially to purchase a ticket can still enjoy visiting Kings Place. A limited number of tickets are allocated for certain events (if the ticket type does not show in the booking pathway, it means they are not available for this event or have all been sold). Concessions tickets are accessible for people on the following criteria (for more information visit our FAQs)
£10 ‘Under 30s’ tickets
A limited number of £10 tickets are available for certain shows to attendees aged under 30. To access Under 30s tickets, your account needs to be updated with your Date of Birth. Please visit the account centre to add your Date of Birth and go to ‘Other Preferences’ to opt in to the Under 30s Scheme.
If £10 tickets are available, the ticket discount will apply automatically at checkout. If the discount does not apply, this means all ‘Under 30s’ tickets have sold out for the performance.
Please note that proof of age may be requested at the venue.
Getting here
Kings Place is situated just a few minutes’ walk from King’s Cross and St Pancras stations, one of the most connected locations in London and now the biggest transport hub in Europe.
Our address is:
90 York Way, London, N1 9AG.
The Venue
Our performance spaces are situated on the lower ground floor. Hall One, Hall Two and St Pancras are located in level -2, reached by stairs, escalator and lift from the ground floor entrance level.
Event Times
Door times indicate auditorium entrance times only. Visitors are welcome to enjoy the Kings Place seating areas, gallery-level art, canal-side terrace, café, restaurant and bar throughout the day and evening.
We aim to make your visit to Kings Place as comfortable as possible. For more information about the accessibility of Kings Place, including details about our Access Scheme, please visit this page.
If you would like to discuss your access requirements with a member of our team, please get in touch with the Box Office team at info@kingsplace.co.uk.
Rotunda Bar & Restaurant
Rotunda, situated on the ground floor of Kings Place, offers a unique dining and drinking experience alongside Regent’s Canal. The concert bar in the venue foyer will also be open for select events.
Green & Fortune Café
Recently re-furbished and now open with a new look, the Green & Fortune Café is open for selected concerts. Serving hot and cold food and drinks, including sandwiches, salads, soup, stew and a pie of the day, alongside a choice of cakes made by the on-site bakery team. See here for selected concert dates and standard opening hours.
Internationally acclaimed viola player Lawrence Power is widely praised for his richness of sound, technical mastery and passionate advocacy for new music. Heralded by The New York Times as ‘a musician on a mission to make us pay attention to the viola’, Lawrence has advanced the cause of the viola both through the excellence of his performances, whether in recitals, chamber music or concertos, and through the creation of the Viola Commissioning Circle (VCC), which has led to a substantial body of fresh repertoire. Lawrence has premiered concertos by leading composers such as James MacMillan, Mark-Anthony Turnage, Julian Anderson and Alexander Goehr, and through the VCC has commissioned works by Anders Hillborg, Thomas Adès, Gerald Barry, Cassandra Miller and Magnus Lindberg.
Lawrence opened the season with the Finnish Radio Symphony Orchestra (Nicholas Collon), performing Berlioz’s Harold in Italy, and appeared again under Collon’s baton alongside violinist Vilde Frang in Britten’s Double Concerto with the City of Birmingham Symphony Orchestra. He will give the world premiere of the Wigglesworth Viola Concerto at the Aldeburgh Festival under the composer’s baton, commissioned through the VCC. Concerto highlights include performances of the critically acclaimed Magnus Lindberg Viola Concerto with the Orquestra Simfònica de Barcelona (Matthias Pintscher), the Royal Stockholm Philharmonic Orchestra (Ryan Bancroft) and the Trondheim Symphony Orchestra (Adam Hickox), as well as play-directing the Scottish Chamber Orchestra.
Further engagements include performances of Cassandra Miller’s I cannot love without trembling with the BBC Philharmonic (Ludovic Morlot) and the Montréal Symphony Orchestra (Elim Chan), Bacewicz’s Viola Concerto with the NDR Elbphilharmonie Orchester (James Gaffigan), and a three-week play-directing tour with the Australian Chamber Orchestra, including the world premiere of Garth Knox’s Viola Concerto.
Reviews
‘His programming is so imaginative and his musicianship so independent of his instrument that it’s the message, not the medium, that is paramount’ The Strad
Simon Crawford-Phillips has built a unique career as a conductor, pianist and creative programmer, recognised for his revealing and eclectic approach to repertoire.
He is Artistic Director of the Swedish National Orchestral Academy (SNOA), Co-Artistic Director of the Nash Ensemble alongside Adrian Brendel, Artistic Director of Sweden’s Change Music Festival, and Co-Artistic Director of the Wye Valley Chamber Music Festival. Formerly Chief Conductor of Västerås Sinfonietta, he made a critically acclaimed debut with the Swedish Royal Opera in Britten’s A Midsummer Night’s Dream.
As a chamber musician, Simon regularly collaborates with artists including Daniel Hope, Lawrence Power, Torleif Thedéen, Carolyn Sampson, Pekka Kuusisto, Roderick Williams and Colin Currie, performing repertoire ranging from Haydn and Schumann to Adès, Britta Byström, Brett Dean and Steve Reich. He also recently curated a chamber music series for BBC Radio 3 at LSO St Luke’s.
Alongside an increasingly international conducting career with orchestras including the Helsinki Philharmonic, Scottish Chamber Orchestra, Gothenburg Symphony and Zurich Chamber Orchestra, Simon is a committed advocate for contemporary music, having given numerous world premieres and worked closely with composers including Sofia Gubaidulina, Steve Reich, Mark-Anthony Turnage and Huw Watkins.
He performs widely across Europe’s leading festivals and concert halls, has recorded extensively for major labels, and is Professor at the Edsberg Institute, Stockholm Royal Academy of Music and the Academy of Music and Opera at Mälardalen University. Simon is a Fellow of the Royal Academy of Music and a Steinway Artist.
Reviews
‘profound sensitivity and technical brilliance, achieving an expressive intensity that makes for compelling listening.’ The Guardian