(3 / 5)

In their tenth anniversary, Septura brass have made a name for themselves in the brass world. This being my first encounter, I wanted to savour their sound. The debate rages on whether brass on it’s own works as well as expected…still I was keen to see. Artistic director Matthew Knight would like me to think so.

Orlande de Lassus’ Lagrime di San Pietro is very much of its era, 16th Century. Septura has covered a broad palette spanning five centuries, new commissions also part of their makeup. It was lovely to heard essentially medieval music, unbovered by complexities, just affectionate and pleasing music.

Roxanna Panufnik got a premiere with her Seven Heavens. Music is in the family her father also a composer. I was stood behind her at the box office, we must do an interview sometime. Inspired by the Islamic depiction of the seven levels of heaven, the piece has an expectedly exotic plain. Using scales from the Muslim world, the effect was of worth, even if a whiff of novelty lingered. Strange harmonies between the players, aside perfumed solos was pretty much the whole piece. It also opens up the truth of musical languages from around the world, something not always seen today.

In an argument by Simon Cox, a selection of Prokofiev’s 10 Pieces Op. 12 was a cheeky opener to the second half. As ever acidic and bursting with rampant sure fire wit, you can always rely on the Russian composer. The audience was amused too, some laughter after certain moments stood out. For me, this and the last piece was the most fetching and attentive.

Shostakovich’s String Quartet No. 8, arranged by Simon Cox and Matthew Night worked very well. The alarming energy and morbid musings of Shostakovich didn’t win in the cross over. This quartet from 1960 came after years of deeply rooted anxiety and paranoia over his home county and his position in it. Could further arrangements work just as well?

The encore was on the tip of my tongue, I thought it was Debussy but I cant quite recall. 

Saturday 16th November 2024