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Her Ensemble: The Three Dancers with Jess Gillam and Laura van der Heijden

Jess Gillam playing the saxophone in front of a pile of giant oranges

Three beautifully-conceived 21st century works inspired by the visual arts, culminating in a celebration of Balkan folk tunes herald the return of Ellie Consta’s pioneering Her Ensemble.

Inspired by the history of still-life paintings, Caroline Shaw’s piano quartet Thousandth Orange depicts tiny oblique revelations that time's filter can open up in a musical memory. Picasso, meanwhile is the starting point for Elena Kats-Chernin’s sax, marimba, and accordion enriched dive into love, death, and desire. These ideas streamline through Dobrinka Tabakova’s 2002 string trio which grapples with the idea of visualising sound itself.

Devoted to championing women’s voices, the ‘forward thinking ensemble’ (Gramophone) enlists two star soloists for its folk-gilded brush with the plastic arts. ‘A performer who can hypnotise a room’ (Arts Desk), saxophonist Jess Gillam ‘frankly rocks’ concedes the Huffington Post; while ‘superstar cellist’ (The Times), Laura van der Heijden ‘has everything within reach to become a cello diva’ (Trouw).

Programme and Performers

Caroline Shaw Thousandth Orange
Dobrinka Tabakova Insight
Elena Kats-Chernin The Three Dancers
Ezo Dem Sarici Göçebe Prenses

Her Ensemble
Ellie Consta director
Luba Tunnicliffe viola
Marianne Schofield bass
Ilona Suomalainen accordion
Elsa Bradley percussion
Laura van der Heijden cello
Jess Gillam saxophone
Junyan Chen piano
Julian Nichols dancer 

A note from Ellie Consta, director of Her Ensemble

The concept for Her Ensemble came to fruition during the 2020 lockdown. At the time, I was living with artists/producers and began to notice how different our work lives and experiences were. Around the same time, I stumbled across a statistic brought to light by the organisation Donne, Women in Music, which discovered that in 2019 just 3.6 percent of the classical music pieces performed worldwide were written by women.  

I was shocked to realise I could name only a handful of female composers despite being immersed in the classical industry and having studied at renowned institutions. This statistic made me question everything I’d taken for granted in the classical world, from dress codes to sweeping statements I’d heard time and time again, such as ‘there just haven’t been that many female composers’. I started researching and discovered a large gap in my education, with thousands of female composers pre-dating 450BC. I wanted to explore all this music that I’d never heard about and merge the aspects that I loved so much from both musical scenes. I think Her Ensemble is as much about questioning the status quo as it is about giving overlooked voices a platform. Or perhaps these things are synonymous.  

I think I was drawn to each of the pieces programmed for similar reasons – although very different in style and character, each work blurs the lines between musical genres and eras in its own way. Inspired by the visual arts and storytelling, each piece has a timeless quality that evokes a visceral response through languages without words and communicated through personal experience and emotion. From folk songs dating back to the 1300s, to contemporary music that still uses the same harmony today, there is a synergy that intrinsically links these individual works – a reminder of our connection to a bigger ecosystem and that although sometimes seemingly abstract, the art we create is undoubtably influenced by the work of those around us and those who came before us.  

Ellie Consta 
Director, Her Ensemble 

Programme notes

Artist biographies