Jonathan Morton on Anno

The impulse for this project came from an ongoing fascination with the relationship
between the old and the new. We are lucky to have access to so much lifeaffirming
music from the past, but I think there is an imbalance, with too much
focus on the old at the expense of the new. Ideally, old music wouldn’t be heard
as ‘old’ and new music wouldn’t be heard as ‘new’ – it would be a conversation,
and in the end it would all just be ‘music’.

I hope Anno will question the audience by stripping away some of the
preconceptions that don’t actually have anything to do with the music. Gentle
confusion can give everyone a chance to hear something in a new way. Vivaldi’s
The Four Seasons in particular has been played about with so much – turned in
to pop songs, used as ubiquitous hold music – that actually the seal has already
been broken.

But in the end, we’re not rewriting Vivaldi, but trying to draw out the future from it,
and also to tease out the past from Anna’s music and Ellie’s artwork by initiating
a dialogue across the centuries.

This is how art is created/re-created and always has been. People borrow and
adapt ideas from others; they nick bits, they re-arrange and re-contextualise.
Music is never finite or frozen in time.

Rosie Davies