It was only the second time I had visited The Albert Hall in Manchester, and had forgotten just how spartan and uncared-for the place actually is. The former church still clings on to some ethereal religiousness as stained glass windows and high chancel ceiling dominate the now black-painted walls of peeling plaster and emptiness. It's a very sad and cold building now, a shadow of its former self. The absolute perfect place for a piece of music which superbly mirrors this decay.
Contemporary composer William Basinski's two pieces collectively known as The Disintegration Loops [1.1 and 3] were played in the first half of this evening's concert with an emsemble orchetsration by Robert Ames and Maxim Moston, under Ames' conducting. To say that Basinski is a minimalist composer is something of an understatement as the works showcased this evening - the first time I had ever heard any pieces by this composer - made Phillip Glass seem like Mozart in comparison! The premise of these two pieces - both quite considerably long lasting well over 30 minutes each piece - is extremely simple: it is the idea of a cassette tape being played endlessly on loop until it finally disintegrates.
Both pieces were conducted with relish and obvious passion by Robert Ames, and the orchestral ensemble assembled on the highest stage I think I have ever seen. Both pieces were extremely similar inasmuch as they both started mf [moderately loud] and by the end of the piece they were playing dimenuendo ad infinitum to the quietest sound possible before complete silence. This was particularly effective in the second of the two. The tempo of both pieces was also quite static and similar, and it wasn't difficult to close your eyes and drift off into a trance-like sleep to awaken to still hear the same few notes being repeated over and over again. Admittedly there were subtle differences throughout the pieces, but sometimes so subtle it would take only those extremely familiar with the music to have noticed them.
One major problem this evening was the fact that the venue's heating system was making a continual droning sound throughout and was louder than the music being played oftentimes, even the crackle from the speakers was, towards the end of the second piece, overpowering the music being played on stage!
After the interval, and a complete change of staging, William Basinski - cutting a striking figure with long white hair, a diamante jacket and sunglasses - played us his composition, 'On Time Out Of Time'. This was a series of pre-recorded sounds and computer generated noises which, very like the first two pieces, was drone-like and repetitive, however unlike the first two pieces where there was an obvious and discernible melody (albeit a melody of 6 notes repeated ad nauseam) this piece contained nothing onto which I could hang the tag, 'tune'. Accompanying this performance was a whole host of lighting and smoke effects. In the first half blue and white (cold) lights were used with different cloud-like gobos accross the ceiling, whilst in this third piece white circles whirled above us whilst Basinski himself was surrounded by rock concert lighting effects and continual haze. Despite the theatricality of this it seemed to work in opposition with the mood of the music. I have absolutely no idea what the music was supposed to represent, but my own personal inetrpretation was that the single monotone was the continual wailing of an air-raid siren, the louder rumbles were bombs exploding and the higher pitched wailing, the screams of those dead or dying. It was quite an apocalypic vision in my mind's eye.
The Manchester Camerata never cease to amaze as they are always pushing themsleves in new directions, never standing still, never satisfied, always striving to push those boundaries even further. This is an orchestra like no other, and an almost capacity audience this evening applauded heartily proving that their place in modern classical music is assured and loved.
Reviewer - Matthew Dougall
on - 11/4/19
No comments:
Post a Comment