2018 New live project! Meridianum Ensemble is here
A fantastic mix of traditional and original music ranging from European Mediaeval dances to Middle Easter percussion and santur and Moroccan oud with a bit of Nordic thrown in for good measure. This 7-piece group is a fantastic vehicle for our compositions. New tour of SW England coming in November/December
Visit the website here:
2017 release: Veer
New album from Griselda Sanderson & Portuguese percussionis & flute player Ricardo de Noronha
2015 releases on Waulk Records
Waulk Records is pleased to introduce four new albums for 2015. All consist of traditional music from a range of countries from Sweden, Ireland, Brittany England and Morocco, all combined with original compositions in their respective idioms. At the beginning of this year Griselda Sanderson produced new work by English mandolin player and singer James Dumbelton for his album ‘Houmet Paradis’, young duo Freya Rae and Louis Bingham on their Irish/Breton album ‘Curlicue’ as well as the follow-up to her first nyckelharpa album ‘Radial’, featuring Swedish polkas and original compositions. All the albums are distributed by Proper and are available by mail order from the Waulk Records website:
Dartington Summer School
Griselda will be performing on the nyckelharpa with poet Alice Oswald at this year’s International Summer School. Oswald’s poem ‘Tithonus: 46 minutes in the Life of the Dawn’ will be showcased on 4th August 2015 in the Great Hall.
Griselda is performing music in Blanche McIntyre’s production of ‘As You Like It’, part of Shakespeare’s Globe’s current (2015) ‘Justice and Mercy’ season in London.
December 2013 saw the publication of a new book ‘Taking Part in Music: Case Studies in Ethnomusicology’ in which Griselda Sanderson’s chapter entitled ‘Sharing Music in Cross-cultural Collaborations’ is included.
The book is published by the Elphinstone Institute, University of Aberdeen and ‘with its contemporary global focus…gives a fascinating insight into the many factors that continue to motivate us to make and study music’.
Griselda’s chapter focuses on her collaborations with musicians from other oral traditions including Moroccan Gnawa, Gambian Fula and the music of Senegal.