The Alehouse Sessions

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What strikes me, is that despite the authorities attempts to censor, prohibit and control the music-making, the music and artists survived, prevailed, adapted and transformed. Barokksolistene’s Alehouse Sessions The signature of this project is the interaction on stage between the players and the audience. If it has to be put in a historical context, the project draws its inspiration from the Shakespearian theatre where there was a direct communication between stage and hall- going in-between the story that was being told and occurring events happening in the hall. This is in stark contrast to the 19th century drama with dark halls looking at the “gods” on stage. It is the latter which the classical mainstream industry has adapted fully.” This diversion from the traditional concert model is what is at the heart of the Sessions. Through the medium of these well-loved tunes, a story of the period is interwoven into the music making; creating a unique environment between audience and performer. These sessions have already been hailed as ‘irresistible’ The Times, ‘superb’ The Scotsman and ‘fabulously unrestrained’ The Guardian, and they have diverted away from the traditional concert model by ‘creating the effect of a late night jamming session’ BBC Music Magazine. The Alehouse Sessions – curated and devised by Bjarte Eike – is an ever changing and evolving insight into the music of the English 17th Century tavern. It gives audiences a window into this tumultuous period through Purcell overtures, English sea shanties, and raucous Scandinavian and Canadian folk songs thrown in for good measure. In 17th century England, Oliver Cromwell moved to close all the theatres and concert venues- forcing the musicians, actors, and dancers off the stages and into any number of “alternative” venues. In 1630, there were registered more than 30,000 alehouses, 2,000 inns and 400 taverns in England and Wales. These were the new homes for the artists of the day.

Then I came across a book of Playford dance tunes. The music was only faintly sketched out – just a melody with no tempo indications or harmony – which meant that musicians were expected to flesh out the harmony and adapt to whatever instruments were available. one place in Berkshire, England it has been recorded that between 1611 and 1618 an average of 6 to 8 pints of beer were consumed per person – every dayThese sessions have already been hailed as ‘irresistible’ [The Times], ‘superb’ [The Scotsman] and ‘fabulously unrestrained’ [The Guardian], and they have diverted away from the traditional concert model by ‘creating the effect of a late night jamming session’ [BBC Music Magazine]. This diversion from the traditional concert model is what is at the heart of the Sessions. Through the medium of these well-loved tunes, a story of the period is interwoven into the music making; creating a unique environment between audience and performer. Bjarte Eike goes into detail about what makes this special: Eike and Barokksolistene bring the camaraderie of the period, the artistry and the connection between musicians and the audience to life in this production, filmed on location at Battersea Arts Centre and The George Inn, Southwark. Famous composers like Henry Purcell part-took in these sessions, and composed lots of music for the occasions.

Norwegian violinist Bjarte Eike and his Barokksolistene have restored the spirit and substance of those long-forgotten performances with their Alehouse Sessions, hailed by The Times as ‘irresistible’ and ‘fabulously unrestrained’ by The Guardian. Five years ago the Norwegian violinist and his band scored a best-selling album with The Alehouse Sessions on Rubicon Classics. They return to the label with another compelling collection of music and words of the kind on offer more than three centuries ago at Henry Purcell’s favourite Westminster watering holes. The Playhouse Sessions, set for release on Rubicon Classics on 23 September 2022, reflects the uplifting energy and engaging emotional contrasts of Barokksolistene’s Alehouse performances. On September 23, visitors to the Southbank Centre will have the chance to live through the elevated status of the tavern, and get a feel for the 17th Century Alehouses through the means of music. Image: Theresa Pewal I launched the project in 2007, as a concert-form where the music found in the English public-houses during and after the Commonwealth was explored. It was an immediate success and has gained popularity with audiences and promoters within a wide field of music. Ever since 2007, the project has been in constant development. With the re-instatement of the monarchy and Charles II in 1660, everything changed for the musicians in London. Charles was a music-lover and re-opened theatres. He re-instated church musicians and wanted his own orchestra. But the King constantly had to deal with the never-ending fights between catholic and protestant, Whig and Tory, city and court – and also with the Parliament that kept a very close eye on the country’s economy – so he simply couldn’t afford to offer full-time employment for artists, musicians, dancers, actors etc. Talk to a member of staff at the auditorium entrance if you have a disability that means you can’t queue, or you need extra time to take your seat. They can arrange priority entry for you as soon as the doors open.

For access to the Queen Elizabeth Hall auditorium seating rows A to C and wheelchair spaces in the Front Stalls, please enter via the Artists' Entrance in the Queen Elizabeth Hall Slip Road (Level 1). Before 1660, the most common music-making in the pubs would be predominated by drinking songs, bawdy catches and ballads, and simple instrumental music played by fiddlers and fifers. But with the closing of all theatres, most of the musicians ended up living rootless lives that descended to little more than begging. Before classical music became real art music and the composer had all the power, artistic freedom was a lot higher for performers. Musicians were expected to demonstrate improvisational and ornamental skills throughout the medieval, renaissance and baroque periods, but the amount of improvisation and the way in which they responded to the audience would depend on the occasion. For example, there would be a certain amount of ornamentation within the Gloria sung at church, but not any adaptation based on the audience’s response. In a tavern or on the streets, the artistic freedom would naturally be a lot higher as the musicians would be free to respond and change to whatever audience might be at hand.

The pub has since the earliest of times been the English people’s second home. The establishments can be divided into three categories: the inns, taverns and alehouses (later known as public houses). In these establishments one would meet to eat, drink, and sleep, but, especially after 1660, one would also hold political meetings, feasts, balls, concerts, gambling events, flower shows etc .. and of course, these houses were the main venues for the extreme consumption of alcohol in the 17th century¹. Samuel Pepys is also notoriously known for his fondness of alcohol. In his diaries, he’s listing all kinds of favourite drinks like ale, cider, beer, brandy, all sorts of wines and mixed drinks like posset, butter beer, hippocras etc². It must have been an incredible atmosphere in these places – overflowing with music, alcohol, sex, gossip, fights, fumes, shouting, singing, laughing, dancing… not unlike our live versions of the Alehouse Sessions.Speaking on the project, Bjarte Eike said: “The signature of this project is the interaction on stage between the players and the audience. I see the alehouse sessions more as a creative room that I keep refurbishing, rather than a fixed project or concept. It started as a fun, clever musical idea – fitting a festival with an English theme – but has now become something more profound; it’s all about the individuals that contribute on stage, with everyone being outstanding soloists and team-players, and how we have all invested ourselves in the project. To reach this entrance, enter the Royal Festival Hall via the Southbank Centre Square Doors. Take the JCB Glass Lift to Level 2 and exit to the Riverside Terrace. Turn right to find the Queen Elizabeth Hall main entrance. Dreamed up and curated by Norwegian violinist Bjarte Eike, “The Alehouse Sessions” takes audiences along on a 17th century evening of entertainment, not only with a live classical performance, but also through theatrical storytelling, folk, strings, improvisation, and dance.