Bing & Ruth

Bing & Ruth

Bing & Ruth

  • Vrijdag 19 mei 2017
  • start programma
  • (Tijden onder voorbehoud)
  • Vrijdag 19 mei 2017
  • start of event
  • (Times are subject to change)

Let op: alleen vrije zitplaatsen.

De naam doet een duo vermoeden, maar Bing & Ruth is het project van pianist en componist David Moore uit New York, waarbij hij verschillende muzikanten om zich heen verzamelt. Het resultaat is meditatieve en vaak minimalistische ambient/klassiek om bij weg te dromen op een donkere winteravond. Perfect voor de intieme setting van de Lutherse Kerk en aanrader voor liefhebbers van o.a. Nils Frahm, Olafur Arnalds en Hauschka.

Bing & Ruth is onlangs getekend door het fijnproeverslabel 4AD (Beirut, The National, Efterklang) en bracht afgelopen maand het nieuwe album ‘No Home Of The Mind’ uit. De muziek op het album ‘No Home of the Mind’ is samengesteld met zeventien verschillende piano’s die Moore ontdekte tijdens zijn reis door Noord-Amerika en Europa. “Voor mij voelt het alsof elke piano zijn eigen persoonlijkheid heeft”, vertelt Moore. Die persoonlijkheid van elke piano heeft hij geprobeerd te omarmen en op basis hiervan zijn nieuwe werken van Moore ontstaan. Het album is in slechts twee dagen opgenomen in een kerk in Hudson door een vijfkoppig ensemble waarbij het  muzikale  vakmanschap goed naar voren kwam. ‘No Home of the Mind’ heeft een verfijning van kleur en cadans en met deze verfrissende en affectieve nieuwe vormen komt Bing & Ruth op 19 mei 2017 naar de Lutherse Kerk!

“Moore is so gifted at teasing out emotion, it seems inevitable that there will be many film and television scores in his future, if he chooses to go that route. If that happens, No Home of the Mind will be remembered as his breakthrough, the place where all the pieces from earlier records snapped into place.”

Lees hier de volledige albumrecensie.

Pitchfork (Mark Richardson)

“I’d say if there was any guiding spirit in putting it together, it was one of intuition. In writing and recording everything we did was set up in a way to best capture the intuitive (and thus human) nature that these songs needed.”

Lees hier het volledige interview.

Interview (The Seventh Hex)

Tickets: via this website, our box offices, local record store Plato and

In 2006, David Moore started Bing & Ruth as a way to bring his compositions to an audience beyond academia. A pianist from Kansas, studying at the New School for Jazz and Contemporary Music in New York’s Greenwich Village, Moore was writing the sort of music he wanted to hear: minimalist ensemble music with a certain filmic sensitivity, one that prioritized grace and texture over the style’s once-radical subtraction. Following the seasoned history of minimalist heroes at the New School like John Cage and Steve Reich—both of whom taught at the institution throughout the 1950s and ’60s—Moore’s compositions looked past the studied repetition of the style’s most prominent forerunners towards a form built on feeling, a mobilization of time-honoured shapes, now angled outward towards a greater totalizing sublime. The piece’s mark the culmination of Moore’s piano studies, pairing tender lines that emphasize the instrument’s more percussive qualities with running woodwinds, warbling tape delays, and splattered upright bass lines that stare out with a wide-eyed transcendence.

The new album ‘No Home of the Mind’ finds Moore returning to the piano a heavier, more driven feeling. Composed on seventeen pianos across North America and Europe over numerous sessions, tours, and travel, the pieces channel the idiosyncrasies and respective limitations of each instrument into inspiration. “For me I feel like different pianos all have their own personalities,” Moore says, “So in writing these new songs, I tried to embrace the personalities of the pianos I was spending time with.” These self-contained piano lines soon grew into accompaniment and independent parts as the pieces were arranged for tight five-person ensemble pieces. Recorded in just two days at a repurposed church in Hudson, NY, in the fewest takes possible, an attempt to capture the immediacy of classic session-style musicianship, where one-take recordings were a standard to keep costs down. “We had everything rehearsed, worked out and ready to go before we ever stepped in front of a microphone so when we did, it was like instinct coming back into play,” he noted. After over a year of heartfelt composition, No Home of the Mind finds a newfound confidence, a refinement of color and cadence that pulls together a year’s worth of studied feeling into an album that looks outward with freshfaced, affective new forms

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