(5 / 5)

In the crypt of St Martin in the Fields lies a place in London to escape. A descend from the streets to a historical scope where the names of the past lie on the floor and the bricks above have seen ages.

What better way to have a concert, a cult experience at that. Karlheinz Stockhausen is notorious for several things, his remark on 9/11 the most misguided. Back in 1968 his Stimmung was one of several, infamous compositions gaining notoriety. In what is perhaps his most accessible work, Stimmung is a gentle encounter. The six singers of the London Voices are dressed in white (Stockhausen loved theatrics), for this feverish hour. This sharing circle is a crash course in overtones, over enunciated German, occasional English words, whistling and hushed harmonics.

Those who can get over the absurd nature of the piece (it’s arguably his most minimalist work), shall be rewarded with the glowing aura that the piece radiates. Each singer takes turns, whilst sharing rounds as well, little flutters and bursts bop in and out. Days of the week are mentioned, which would prelude his extensive operatic outings. These drones almost feel like mantras for meditation, their repetition wafts around the space and into our ears. I’d be interested to hear how exactly this is recorded as well.

Moments of humour easily fade, as the growls, moans, chrips, shrieks and chattering all becomes contextless. The approach and accessible way this Stimming has been placed is fantastic, I’d struggle to think of a more intimate venue then the Crypt of St Martin’s. A genuine sense of calm came over me, I felt little urge to vacate the space after it was over. I wanted to savour. Though, I dare say a minute or two of silence after would have really sealed the deal, the goal of transendance haunts us even after. Curiously, a mouse or two in the crypt were so moved as to come out and experience with us. 


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