Gabriel Adédèjì

(3 / 5)

Andrew Watts & Gavin Roberts

(4 / 5)

In something different at Wigmore lies their Sessions. Placed compactly into their Learning Room downstairs we were hit with congos, saxs and an upright piano. Gabriel Adédèjì introduced all his pieces rather modestly and with an openness. The freshness to the work sees jazz, blues and music from his native Nigeria. All of the pieces were in his native local lounge, (through Yorùbá folklore) and his singing voice is quiet, though refined. His friends: Isreal (Olá) Akindipe, Pietro Lacopini and Hannah Ledwidge gave thriving robust bursts of percussion and woodwind. Together all this was very fine, the African spirit of the whole fifty minutes rang true. I’d be thrilled to see more laid back session of the time at Wigmore.

Gabriel Adédèjì

Following on the next afternoon, Andrew Watts & Gavin Roberts gave a bizarre recital, one that often delighted. Watts has a following as a countertenor, a vocal group which attracts a gay following, more on that later. H K Gruber’s ‘3 Simple Songs’ would evoke Kurt Weill and Cabaret, fun all round a way to break us into the recital. Dame Thea Musgrave who has turned 96 is still composing, whipped up the new work: ‘Orlando’s return to London…as a WOMAN from ORLANDO – an Escapde’ Yes…that is how it was billed in the programme. Virginia Wolfe’s gender bending tale of an eternal figure of Orlando sees grief, yearning and hope. We’ve seen the countertenor in the tale before: Jimmy Somerville in Sally Potters film version is proof of this. The change in gender is now contextualised for rightful trans purposes. Musgrave have eloquence and vigour abound in this direct page rip from the book.

We had more new work, that from Raymond Yiu and his ‘Chinese Whispers’. Perhaps the most fascinating music on the programme, it went between verses breaking down the Chinese Communist Party’s love-hate relationship with Beethoven’s 9th Symphony. Policing and protest chants are the calling card to the piece, a break down as to why the symphony was performed in the past, but is now forbidden is expanded upon. Each verse is spread to the left and right of the page as we read along, adding to the poetry. A direct quotation from ‘Ode to Joy’ is all the more radical in this context. Yet, there was a lingering sadness to the piece: there are of course many works of music and media contraband in China.

The direct, effecting words of Elizabeth Barrett Browning, in Joseph Howard and his ‘Opium songs’ proved a highlight. With Charles Ives in sound and more sombre chords, this is a blunt depiction of drug use and one certainly of its time. Louise Drewett and two sweet songs had a feel of the musical theatre to them, honest insights and a simplicity of tone: ‘How I Heard’ and ‘Lament’. Watts has called this concert ‘A Countertenor Songbook’, all work within has written for him in mind. It’s clear he is popular and his voice is sharp, delivering nuance aplenty. The chemistry with accompanist Gavin Roberts proves fruitful. They’ve no doubt done concerts together loads and Roberts playing all these premieres with ease and a stillness of musicality is impressive.

Geoffrey King added to further queer themes with an inspired literally choice of ‘For Your Convenience – a guide to London’s Loos’ by John Poole from Paul Pry. Gay men have always found a way around the system and in the 1930s when it was still illegal, a work like this would be shared. From spoken advice to the printed form, this was also before Polari was used, gay men utilised this mixing of languages and puns to protect themselves. Their is innuendo in these ‘listicle’ songs, though it’s slight and could be easily missed by the masses. The ‘Cottaging culture’ depicted in this work has funny interludes, a melodica solo and many recognisable slices of the city, locals would know to this day.

Michael Nyman and his tender ‘If’ would be the send off, in a recital of many colours, beliefs and emotion.

(4 / 5)

In what appears to be a esteemed prize, the Concordia Foundation Artists’ Fund gives young musicians a true chance to get the platform they need. All this is excellent especially at this time. Mezzo Nancy Holt was the big sell, though the others shone to.

Nancy’s first set was quite stirring. An aria from Monteverdi’s L’incoronazione di Poppea proved her acting talents and rich mezzo voice. Messiaen followed with the early Trois mélodies, filled with impressionistic splendour. The last song, La fiancée perdue is perhaps most strong in its sprinting opening piano, played a equally infused Ashley Beauchamp. The typical bars over Jesus are most touching, the Catholic fervour always present. ‘Sta nell’lrcana pietrosa tan’ from Handel’s Alcina showed further talents from both, Nancy having fun with jumpy momentum and thrilling vocalise.

The double bass is a rare instrument to hear in this instance a leading player. Serbian Strahinja Mitrović wore flowery fashion and played with style, proving the star power the double bass yields. Henry Eccles (1670 – 1742) might not hold a familiar name, yet his Sonata in G minor for Double bass and piano was noteworthy for its listenability. With Strahinja playing, with the comforting Salome Jordania on keys this and more proved a joy. Elliot Carter (born the day after Messiaen and lived till the age of 103) with his Figment III was a fleetingly evocative mood swing of timbre and flung density, a strange treat. Though Reinhold Glière’s Four pieces for Double bass and piano started off as average, it gradually improved with a spark of impassioned concerto like panache. Its Intermezzo and concluding Tarantella are particularly fun to set ears to.

Nancy got a second set, with Ashley back for more. Flutters from Gounod’s Roméo et Juliette give this lesser heard work a chance to shine with an almost dance line intensity, the composer’s cleverness standing out. Highlights from Mahler’s Lieder eines fahrenden Gesellen are soothing, Alpine treat, sour with his usual cloud of dread through cheerier folk music. I heard Sarah Connolly do the whole set not long ago, the gold standard for any mezzo. Nancy got a hold of the selections with a mighty sense of urgency. An end with that oh so problematic musical: Carousel. ‘If I loved you’ is usually sung by the ‘orrible male lead in that show, though it can work for mezzo and like a few others choices in that it usually works in statement and enjoyability.

(3 / 5)

They’ve been on my bucket list for a while…Apartment House have had alluring concerts in what is now their 30th year. I was upset to miss a whole Saturday of three gigs filled with John Cage, what was a few years ago at Wigmore.

This celebration concert came as quite demanding in a Philip Glass heavy programme. The first half featured Glass’ Music in Similar Motion and Music in Contrary Motion. Whilst easy on the ear, the attention required to engage is considerable. People have thrown the word “minimalist” around, over what exactly it is and who is defined as such. This combination of synths, flutes and strings has an air of period piece about it now, both from 1969. The lapping of notes return and additions are made, only to return snap back to the starting bars. Unsurprisingly, the Contrary Motion work is much more interesting, as its unfolds with a sense of motion and decadence.

I was happy to attend thanks to Erik Satie and his Socrates. John Cage had a bad time trying to use one of his musical heroes in performances, so he found a way to write a double piano arrangement of Socrates. Through this, you do lose Plato’s vivid recollections of Socrates, the latter philosopher known for not writing down his teachings. I’ve had difficulties trying to acquire an English language version of the Sorate, but that’s another thing. In their own arrangement, via Cage, Apartment House still clasp onto the refined eloquence and unabashed serenity throughout its 30 odd minutes. The flutes and strings are still here, there have been after all few versions of this work starting with Satie’s himself. It’s very gentile, the keyboards are soft and lightly perfumed. The Death of Socrates is one of the best work Satie ever wrote, his late academic studies enhanced with highly eccentric method creation. Sweet and a dollop of emotion too boot.

Glass’ Music in Eight Parts has a curious back story: he sold some of the autograph manuscripts of the piece back in 1970s. One of which would turn up at a Christie’s auction in 2017. It sold for over $43,000. Glass actually bought it back for this figure and tonight’s European premiere is one of the versions from his original. Though no saxophones or voice, we get the alto flutes. This was undoubtedly the most difficult of the night. Less attractive in scope, its cycles never quite enthralling. Drops of more notes followed, the six part harmony would dictate our ears. These delightful keyboards from Mark Knoop (who I recall from a Queen Elizabeth Hall gig few years back), Eliza McCarthy and Kerry Yong, lead entirely. You get a feel of the range they can offer up in timbre, distortion and much more.

With no encore nor intro to the last Glass (which is a cool little story), this celebration felt a little flat. A wider choice of composers on the programme would have fared much better. 

(4 / 5)

It has been a pleasure seeing a select few of the performances at the Southbank Centre’s Multitudes festival. It’s a thrill to know it will be back in 2026, who knows what bold work will be created then?

This Carnival from Frantic Assembly and Auroa Orchestra was a truly fine send off. I see the kiddies got a ‘Family edit’ of the show in the afternoon. I honestly think they could have sat through this full one hour fifteen of the full event. They would have loved it. How simply marvellous is it to finally hear Saint-Saëns’ The Carnival of the Animals live. This beloved piece is well worth the hype. As Dr. Frompou, actor Christopher Akrill shows off hyper ringleader skills and his mime, in a role which thankfully did not grate. He controls the musicians in everyway, as is continued in the premiere which followed.

The players have great comic timing, some lifted into the air for dramatic effect. The chemistry was a joy to see. Voiceover for this work was Naomi Frederick, with droll broadcaster voice and the piffy script by Kate Wakeling also was humorous and tight. The many passages of the score are tributes to the animal kingdom, the French composer never published this in his lifetime. Snobbery, no doubt was a reason, yet it remains a treasure in his canon. Aquarium was notably evocative, L’éléphant is a rare double bass solo mocking a slow can-can. The finale is a standout partially for the building up lower string harmonies, Volière sees birds, Fossiles sees as such. The Swan a timeless classic and was wonderfully rendered. Mischievous director duo Jane Mitchell and Scott Graham must have had a blast with all involved.

I was one of the few critics who adored Welsh National Opera’s Peter Pan by Richard Ayres. The Cornish composer always has trickery afoot in his score and in Dr. Frompou’s Anatomical Study of an Orchestra proves this. The Dr. is fleshed out more in his tyranny, keeping the players locked up at night. All sorts of silliness shines through, flatulent deep brass, frightened wind players with quivering legs (no doubt notated into the score) and a flautist’s ever growing instruments. Ayers’ irony is perfect, there are conventions, yet the experimental moments are glorious. The sythns are set on a particularly vibrato rich, vocal setting, something I’ve only heard with him. The final funky trumpet solo was also note worthy, as the musicians all appear to finally be free. This didn’t really have much of an ending, but the journey was the pleasurable experience.

I’d honestly love to see this Carnival again. 

(5 / 5)

In what might be the finest hour of music making have seen in London for some time, I was caught off guard with The Purcell School. These musicians are filled with the spirit of music making that is oh so needed in these desperate times.

Robert Saxton had a premiere with his Le Tombeau de Ravel. The French composer was the mainstay of the day, his 150th birthday a major cause of celebration. Saxton’s way with orchestration is curious, the sinew of melody and harmony always dissolving. The players handled the course material well. Saxton had worked with the next composer: Luciano Berio. Having his own 100th birthday bash, the School did one of Berio’s finest creations, the Folk Songs. Eleven female singers took up these wonderful arrangements, some of which are Berio’s own invention, others well established folk standards from the United States, France and Armenia. Every works as a total triumph, delight after delights is heard and felt thorough the clever arrangement. Perhaps most potent is ‘A la Femminisca’, a Sicilian call to church with metal coil, tam-tam and tubular bells.

What had wow factor was on violin Juila Majewska, with Phoebe Papandrea on piano. Ravel here channels Spain and Hungary with Pièce en Forme de Habanera and the famous Tzigane. I felt like was watching stars in the making, Majewska was an utter sensation on the violin, a second nature next to brilliance. Papandrea also proves to have a considerate chemistry, you feel they are friends. The feverish vitality of these works prove why Ravel is interesting and of note. There are many congratulations to be had here. Promise beyond promise.

To wrap up more Ravel in a four hand version of of La valse. Arranged by Ian Farrington, the waltz becomes an absurdly whirling terror that only seems to crescendo. The players Luca Newman and Stephanie Qiao impressed, their modesty at first diminished through violent playing in this four handed thrill ride.

A genuine joy to see young musicians play on this scale. 

(4 / 5)

In Ravel’s 150th birthday years lies the opportunity to hear much more of his music. Those bored of Bolero and are driven mad by Mother Goose, may find solace in concerts like this. Seong-Jin Cho was the winner of the First Prize ten years ago at the Chopin International Competition. He has truly made a name for himself as was proven by this busy concert at the Barbican.

To have done in one night the entirely of Ravel’s lifetime of piano work is no mean feat. The first set showcased early work including the delightful Jeux d’eau and the instantly recognisable Pavane pour une infante défunte. The rest here prove less interesting, you fell he finest quite master things until he goes on in his career. Seong-Jin is stimulating to watch play, performing entirely from memory. The talent of this pianist should never be doubted. His furious attacks and fluid patters are the utmost poetry. I think I could hear him breathing and panting at times.

What really sold his was the second set of Miroirs and Gaspard de la nuit. Ravel is alive her with total impressionism, expressive and bold playing for Seong-Jin who makes worms meat of the score. Great to hear Ravel in more experimental modes, as some moments would evoke Messiaen perhaps even Ligeti latter music. Birds and boats are the imagery, seascapes and night time musings. Gaspard de la nuit is also a treat for its impassioned state, its touching sweetness too.

The last set looked the longest and felt like it. Valse nobles et sentimentales was the bulk, impressive for its major pallet of dance and conventions. Further preludes are slight and passable. Le tombeau de Couperin, which he later orchestrated is another joy, evocative and some of his most essentially happy music, even out of the WW1 context. Through it all it was Seong-Jin’s determination and utmost respect for the material that rang through. His talents are plentiful, his endurance a standout.