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: Everyone that has been involved in the project throughout the years, has experienced musical and personal developments through the way we work and test ideas. We have initiated our own workshops where we gather in some remote place and work with improvisation, choir singing, rhythmical exercises, dancing and, most importantly, strengthening the friendship through cooking, drinking and gossiping. 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. Using their own arrangement of the tunes, these ‘Alehouse Boys’ combine this unique format with humor, an unrivalled virtuosity and flare for improvisation. 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.

But with the closing of all theatres, most of the musicians ended up living rootless lives that descended to little more than begging. 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 PewalWith the outbreak of the English Civil Wars in 1642, the Puritans had the Commonwealth parliament closing all theatres. The music masters of London’s churches and courts were scattered and left to fend for themselves.

In this exclusive video clip to The Strad,Norwegian violinist and the Barokksolistene perform Wallom Green from The Alehouse Sessions. First an album from 2017 as well as a series of performances, The Alehouse Sessionshas now been turned into a film for television, to be broadcast on BBC Four on 23 April. Music-making during the period of the Civil wars and Commonwealth was therefore largely divided between those who “chose to fiddle at home” (either in their own home or in the homes of the Gentlemen that could afford to employ them) and those professional musicians forced to make a living playing in taverns and alehouses.

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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 Scandinavian folk songs thrown in for good measure. This made it more difficult for musicians to bring their instruments 4, but the demand for entertainment at the drinking houses was high, so instead people started performing vocal music like part-songs, catches and canons. Post-restoration 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.