I’m aware of orchestras doing their utmost to get the younger audiences into their events. This feeling was apparent when at this latest London Philharmonic Orchestra concert and I am all for it. This highly eccentric programme would appease both new audiences and diehard fans. Kevin John Edusei as maestro would throughout the night maintain these odd works with vigour and joy.

Frank Zappa did a fine job blurring the line between rock music and orchestra writing. In what might be the strangest, yet most splendid music I’ve heard at a gig for some time, his music stood out in many ways. Maybe it’s the surreal names: The Dog Breath Variations/Uncle Meat; Outrage at Valdez; G-Spot Tornao, or the odd rhythms and timbres…it’s hard not to like. The standout were the percussive forces and a lone banjo later what appeared to be acoustic guitar. Zappa creates orchestral creations that would have appeased the MTV listener (we are talking roughly that era), its muscle lying within its curious meters. I found many smiles and raised eyebrows throughout. Ripping good fun.

A European premiere with Dinuk Wijeratne with a new Clarinet Concerto. With soloist Kinan Azmeh, thing started off very Ives like, as he played off stage as the string ensemble disturbed with eerie natures, a lone string piano played by Azmeh also stood out. This was it for numbers, strictly not brass, woodwind nor percussion so there was a profound sense of intimacy. Azmeh impressed with sounds from far afield, the middle east and strange registers within the instrument. Heaps of discord and the lone clarinet getting soaring cadenzas, thanks to the wisdom and clarity of Azmeh. Though what felt like a classical structure, didn’t necessarily keep, it proved to be a stimulating premiere one of notes in recent months.

This slight evening would wrap up with Bohuslav Martinů. His Symphony No. 6 (Fantasies symphonies) proved highly alert and absorbing. Though the pacing may be erratic, Martinů knew how to compress the listener with anxiety inducing music, thanks to a incredibly clever handling of orchestration. The intense tightening grip would scarcely loosen over us, we remain at the mercy over this intense symphonic work, all the types of instruments played tutti though no one group out did the other. I was compelled by the grip the players had over the piece, a work not even 30 minutes in length though very demanding yet constantly regrouping. This proves Martinů should be heard be here much more. This is genius levels of creation.