I returned to the Barbican, to watch American mezzo Joyce DiDonata who gave a supreme evening of hand picked songs and arias inspired by the thrill of nature. Even as we sat down, seeds had been left on our seats for us to take home, a sweet little gift. This had the feel of an ambitious work, the small platform Joyce loiters was constantly shifting, with two silver orbs courting around her, her own ring cycle if you will. Ives’ The Unanswered Question lost the trumpet and Joyce took on the role in an ethereal change to the notation. Rachel Portman’s premier of The First Morning of the World was a luscious evocation, leading to some Mahler, Copland and Gluck. Opera lovers will relish this buffet of sweet treats from Theodora, Orfeo ed Euridice and La Calisto.

I was filled with sheer joy to hear Joyce sing, the world simply glows when she does. There is a grand, sumptuous quality in her execution, I now know what all the fuss is about. Different languages are easily converted, Joyce easily going in between English, German and Italian with ease. A funny moment came when a part of the rotating rings disconnect and with a smile, she put a finger to her lips. The concluding Mahler, the final song from Rückert-Lieder was of such a devastating impact, I found it hard to keep things together. The words are of a figure dying, leaving the world to the feel of some of Mahler’s finest, calmest music. Joyce captured the intensity of the lieder and is one of perhaps the finest living singers to tackle it. I could have cried for longer.

Encores of Wagner and Handel were so appreciated. It also has to said how wonderful Joyce’s time spent with children in music workshops is, leading to a touching new song delivered by them all and performed to the audience of opera lovers and proud parents. She spoke of how we’ve changed after Covid and how they couldn’t find a choir for workshops in Luxembourg (think of that happening in Wales!). Children and adults alike need live music now after all we’ve been through. Grabbing her autograph, she remarked I was the first critic she’d met who was after such a thing. I will cherish it, just like this concert.

Joyce DiDonato: Eden runs at the Barbican Centre till 6 April 2022.

(3 / 5) Eva-Maria Houben & GBSR Duo

(5 / 5) Claire Chase Presents Pauline Oliveros

(4 / 5) London Symphony Orchestra

A intense weekend of events wrapped up nicely with the conclusion of SoundState at the Southbank Centre. I had officially crashed around this point, though keen to see more. Till the bitter end really.

Starting off with ‘together on the way’ from Eva-Maria Houben & GBSR Duo. By far one of the quietly intense concert experiences I’ve ever been too, the Queen Elizabeth Hall was awash in stillness, if not the odd cough and shuffle. One part quite demanding, it also found it rather zen, a well needed mediation after a non-stop few days. Nature comes to mind and outer space, the organ here only ever a drone to the interplay of piano and percussion. You can feel the spirit of Morton Feldman, though it doesn’t quite reach that plateau. Amazing how the organ could sound like train whistles or an an earthquake when the stops are teased. Wales’ own Siwan Rhys played oh so softly on the piano, with some Henry Cowell like string strums and stimulating chords. George Barton was another fine addition on percussion, an attractive array of gongs, temples bowls amongst other delights. Eva-Maria Houben had some deeply impressive concentration levels to keep the organ on the straight path in it’s never ending backing ambience.

Following on was a fine highlight of the entire festival. Claire Chase and the music of Pauline Oliveros was a mere 45 minutes in length and had a massive, lasting impact. Endlessly charming, Claire plays flute supremely well. Her acting also note worthy, since Oliveros demands a performer musicianship, something right up my line of work. Sounds from childhood, asks the audience to create noises they loved making as a child, something I had to abstain from due to my usually temperamental throat, Senem Pirler on live electronics capturing the noises for a unique performance then manipulated it into a brittle soundscape. She did a super job throughout.

13 Changes featured written, Magritte like visions leading to traditional flute, panpipes, and other similar woodwind, Claire showing her breadth in the field. A little boy behind me spoke of this confusion cornering the words, some funny little moments here. Ending with Intensity 20.15 – A tribute to Grace Chase, Claire has taken the posthumous poetry her grandmother left around. A fabulous circus theatre here, as the words become almost Gertrude Stein like, moment after moment of Jaime vu intensity, as the ludicrous heights only gets higher. Shoes and scrappy hand bags frequent the space as all this occurs. Her grandmother’s poetry is piffy, witty, with flickers of sharp observation constantly on show. The grand finale was a solo on the massive contrabass flute, a sight not to take lightly. This touching performance will be on my mind for some time.

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To end the huge weekend was a trip to the Barbican, making me sadly miss the last event of SoundState Music of Today: How Forests Think. London Symphony Orchestra gave an evening of mostly new music, an exciting night of premiers. Finish composer Joel Järventausta’s Sunfall was a world premiere and had the heat of the sun going for it, inspired by our own very star and early, blazing impressionistic paintings. Helen Grime’s Trumpet Concerto featured soloist Håkan Hardenberger, in a slick three piece grey suit. Somewhere between jazz and contemporary classical, the piece never found any ground to call it’s own. Though the opening and closing was a clear reference to The Unanswered Question by Charles Ives. I felt little for the piece, though Håkan did excel her, face bright red in what comes across as a concert that will require further listing to really understand it.

The pearl of the premiers came from Spain’s Francisco Coll and his Violin Concerto. Soloist Patricia Kopatchinskja dazzled in her charcoal affronted white dress. She rarely stoped playing and the whole piece was frantic, alive in a locomotive bombardment. A touching slow movement was powerful, the final few minutes taking on a jolting, free form style as if the composition was buckling under its own weight The audience were very much impressed with this new work and it should do the round more. Coll is a composer to follow for sure. Even his self-portrait in the programme proves even further talents.

The evening would also feature two of Richard Strauss’ tone poems: Till Eulenspiegel and Death and Transfiguration. Whilst the first had cheeky, trickery inspired by the German trickster, the latter had a deep soul, fine harmonies leading to a rousing conclusion. Strauss excels in writing for orchestra, François-Xavier always on top form as conductor be it premier or a concert classic. He excites audiences every time he grabs the baton.

The London Symphony Orchestra concert will stream on Marquee TV for a future broadcast.

(2 / 5) Arditti Quartet

(3 / 5) Mark Knoop

(4 / 5) London Philharmonic Orchestra

Arditti Quartet Programme:

Christian Mason: This present moment used to be the unimaginable future (UK premiere)
Clara Maïda: … das spinnt for amplified string quartet
Betsy Jolas: String Quartet No.8 (Topeng) (UK premiere)
Tansy Davies: Nightingales: Ultra-Deep Field (UK premiere)

After the giddy thrill of seeing Meredith Monk live for the first time, I wanted to check out more of the Southbank Centre’s SoundState festival. In an intimate afternoon, the Arditti Quartet tackled new work, pushing the boundaries and listeners with the medium of the string quartet. I must put my cards on the table, and say I struggled with this repertoire. I find it hard to believe coming from me, who has always been on a journey of new discoveries. Christian Mason’s opening piece had an interesting use of space with two of the players standing towards the back corners of the Purcell Room, the piece ending with them all leaving the stage still playing.

It would be hard to pinpoint any markers within this music. My concern lies in the blunt method of music making, a hang over from the Second Viennese School. It would be reductive to say this felt like a Webern Fan Club, though his influence was there along with other serialists. The expected shrillness and unhinged sounds couldn’t formulate any visual stimuli, perhaps more abstract sights would be fitting? There was little in rest bite of the anxious, nimbly bow play, the strange prodding of the senses. For once I cried out for a melody…never thought I’d say that. I left flustered and with a headache.

There was some tinkering with show times on this Saturday at the festival and Sex Magic by Liza Lim was given a later slot, giving a three hour break after Arditti for Mark Knoop’s recital. I would miss Liza’s show and was sad to do so. Knoop’s concert had some curious work, a premier from Akiko Ushijima and more. Materia opened with rowdy electronics and Knoop proving his tricks as a musicians itching to take on bold pieces. A dance between man and the electric gave off a wondrous show. They complimented each other, the brittle noises joining the elongated piano writing.

Canon in C from 3 Canons for Ursula by Nancarrow was less impressive. Not the MIDI type playing the composer is notorious for, essentially piano music so complex a human could not physically play it. There is elegance in this Canon, Knoop fitting this choice and it left you hungry for more of that outrageous music. For my sins, I sadly, missed the final piece on the programme: Matthew Shlomowitz’s Explorations in polytonality and other musical wonders Volume 1. From what I did see I must express how invigorating it was hearing these strident works up close and personal. Will absolutely see more of Knoop.

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Rushing over to the other side of the centre, a chance encounter with the London Philharmonic gave rise to a super evening from France and Germany. I’ve spoken in recent reviews about the unrepresented nature of female composers. With Lili Boulanger, a French artist who died tragically young, her sister Nadia is best remembered as one of the big teachers of composers in the 20th century. Lili’s Psalm 129 was only a few minutes in length, though had a big impact and a bigger heart. It is the early Debussy likeness and soundtrack feel that stand her apart, way ahead of her time. The chorus really pelting out some sublime harmonies, though brief and still teary. Olivier Messiaen’s Le tombeau resplendissant is a fine example of his early output of music, the influence of Stravinsky and his Catholic faith being most on stage. The exhilaration and veneration seeps throughout all the orchards groups shining with bold, rampant passages. Messiaen withdrew the piece from his canon for reasons we may never know, a strange decision since the piece is brilliant and a great gateway to the hurtling, mouth dropping later scores.

Edward Gardner continued to show his casual brilliance with Brahms’ A German Requiem. The might of the large orchestra and massed London Philharmonic Choir and The Rodolfus Choir. The singing also help up extremely well the constant declarations in this mass being direct and clearly executed. Baritone Roderick Williams remained highly skilled during his solos, a friend at the concert remarked his German was “on point”. Always soft and centrally one of England’s finest baritones, this cant be denied. The one solo featuring soprano Christiane Karg sat with the choir was a pleasant feature, praise indeed for her even it was the only time she sang. I’ll take or leave Brahms and this German Requiem may not always grab me, but I can’t deny the effort that was put in this and it execution bordered on the exemplary.

SoundState continues until the 3rd April.

SoundState | South Bank London