Artist: John Beswick
Concert Dates:
September 23 – Hackney Church, London
September 25 – Stoller Hall, Manchester
Two performances each evening: 6PM & 8PM
A fresh, visionary voice is set to emerge on the UK music scene as Ensemble Erik, a bold new instrumental group, launches this September with two evenings dedicated to the mesmerizing music of American minimalist composer Philip Glass.
Founded by acclaimed conductor John Beswick—whose past credits include West End productions and projects with Damon Albarn, Pimlico Opera, and Icelandic National Opera—the ensemble seeks to breathe new life into classical music performance. Taking its name from experimental icon Erik Satie, Ensemble Erik blends traditional excellence with contemporary innovation, aiming to reach audiences beyond the usual classical crowd.
Their inaugural concerts will feature Glass’s The Windcatcher (for six saxophones) and Glassworks, performed with the original instrumentation: six reed players, two horns, viola, cello, piano and keyboard. These performances promise both sonic depth and architectural grandeur, set in two of the UK’s most atmospheric venues.
“After these initial concerts, the next stage will be to introduce abstract visuals aligned with musical textures—like a form of audio-visual mindfulness,” says Beswick. “The idea is to transform how people experience minimalist music.”
John’s personal journey into minimalism began during his studies at Oxford, where he explored the influence of Erik Satie on American experimentalism. Ensemble Erik represents a natural evolution of that research—an artistic culmination of ideas that span decades.
In the long term, Beswick hopes to expand the repertoire with works by Steve Reich, and even explore live accompaniment for silent film classics such as City Lights, as well as Satie’s own score for the dadaist film Entr’acte. A sister project, Green Octopus Band, is also in development to showcase Beswick’s original crossover compositions.
Beswick’s previous conducting work has been praised in The Sunday Times, Opera Magazine, and The New Statesman, highlighting his ability to lead performances with “pace and precision” and “sparkling control.”
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