(4 / 5)

Luciano Berio remains an intriguing composer. Inventions and experimental forms were his game, often creating outrageous, yet very human pieces.

With a concert from Ensemble 360, Claire Booth would join them for songs in a third occupied hall at the Royal Welsh. His Quattro canzoni popolari is much more traditional in nature, yet still alluring. The last flutter tongued song ‘Ballo’ get later recycled into his iconic Folk Songs, whilst the rest of the set is lovely for its charms. Rebecca Clarke and her Prelude, Allergro and Pastorale was new to me and a great find. Subtle discovers and a understated scope was the pallet for the three players and was impressive all round.

Ravel: I can take or leave, but his Chansons Madécasses is a fine work, one I’d wished to have heard sooner. Madacasgan lore is the basis, extreme romantics mingles with anti-colonial sentiments in a set of three powerful songs. Booth plumed with her French, got the sinews just right, for me this was a high note. Kokopeli by Hoover was an exquisite solo for Juliette Bausor on flute. An evocation of a mischievous spirit (not dissimilar to Pan), I was taken with these uncluttered few minutes, awesome in its intamacy and unfurling aura.

Suite Populaire Espagnole by de Falla saw a focused Tim Hortom on piano and a unbridled cello solo from Gemma Rosefield, saw colour and light from Spain. I recognised some of the patterning dance delights, the Avant-Garde mingles with the traditional spirit of Iberia. Never played enough, de Falla is often a joy. On viola, Rachel Roberts opened Berio’s Folk Songs with the exquiste American song ‘Black is the Colour’. 

Booth glided across the globe with many nations as tribute from France, Italy, Azerbaijan (this song has made up words) and more. Clarinetist Robert Plane, very well known to Cardiff crowds get brief moments of cheer here. Seeing him play again after many times is touching. These songs never wain in their complete delight, a gateway for those keen to discover Berio for themselves.