Corinthian Chamber Orchestra and Michael Seal at St Martin in the Fields on 11 June 2019

Review: Corinthian Chamber Orchestra with trumpeter Alan Thomas and Michael Seal

Sometimes the most pleasant surprises are to be found in the most unexpected places

If the UK orchestra’s marketing departments have to frequently scratch their heads to dream up new ways to entice audiences through the doors (the LPO’s recent reward scheme is a great one by the way), then spare a thought for the slew of amateur bands up and down the country. Not only are they trying to persuade people to attend an event with music that maybe unfamiliar, they’re also doing battle with the perception that an amateur performance won’t be up to scratch in terms of quality.

I say that because I know that I think that myself. Amateur music-making just isn’t going to cut it. I’m not going to be moved. I’m going to walk away dissatisfied.

But as with a lot of things just recently, those assumptions are slowly being challenged. Some of them are being eroded too. Where does our obsession with perfection or elite performance come from? Who says that if its not perfect its not worth listening to? Where does that come from?

Maybe that’s a whole set of questions for another blog post. Or a podcast or something. At the very least, the Corinthian Chamber Orchestra‘s concert last night at St Martin in the Fields prompted those same questions.

That’s not to say by the way that the CO’s performance was rough around the edges. Quite the opposite. That was the fundamentally surprising thing about the band. Professionals by day, high quality unpaid amateur musicians (my assumption is they’re from conservatoire backgrounds though I’m not entirely sure) by night. Nine hours or so of rehearsal, then a concert. That’s it.

The aspiration was initially most striking. An arresting and captivating arrangement of Janacek’s On an Overgrown Path for, essentially, wind and bass strings by conductor Michael Seal, bringing Janacek’s piano cycle closer in concept to Schoenberg’s first symphony.

Programmatically this seemed like an impressively bold aspiration, met with considerable aplomb by the CO’s two clarinettists for whom key movements saw them play centre stage. It was also a bastard of an arrangement for the bassoons. My money’s on arranger Michael Seal a liking for clarinets more than bassoons.

Come Beethoven’s Eroica in the second half, the stamina of the wind section became apparent and another surprise from this concert: the attention to detail both articulation, ensemble and intonation was obvious. A considerable undertaking, excellently executed that maximised the challenges of St Martins in the Field’s generous acoustic.

Soloist Alan Thomas evoked a celebratory air with Haydn’s joyous trumpet concerto – it’s a rare thing I actually sit in an audience and a wide warm smile stretches across my face – and although the large string section sometimes felt a little clunky in places, there was still a skip and a bounce in proceedings to keep things moving in the first and third movements.

The strings shone in the Beethoven. There was a ferociousness to the opening movement, an enthusiasm articulated through dramatic dynamic contrast, and a rich range of colours. With my head down listening attentively, there seemed little evidence that this was anything other than a collection of professional musicians playing a low-key gig in a church.

Personally, I think the Corinthian Chamber Orchestra should just drop the amateur tag in the biography. I like the idea that there could be a brand of music-making powered by musicians who have entirely different day jobs. What a call-to-action that would be for music education.

The Corinthian Chamber Orchestra conducted by Michael Seal embark on a week-long tour of engagements in Spain next week. Follow their progress on social media with the hashtag #CCOOnTour

Salisbury International Arts Festival Guest Director awarded CBE in Queen's Birthday Honours List 2019

Composer Jonathan Dove and Thoroughly Good Podcast contributor awarded a CBE in the Queen’s Birthday Honours List

Well.

Would you look at the influence the Thoroughly Good Podcast has now.

Latest contributor – adorably excited composer Jonathan Dove – features in the Queen’s birthday honours list. He’s being made a CBE. Coo.

It was a pleasure to meet the man. All very last minute and a complete surprise, but an invitation I snapped up too.

Opera ‘Dead Equal’ launches crowdfunder for Edinburgh Fringe 2019 run

Rose Miranda-Hall was one of the composers who participated in the Wildplum Songbook two-day workshop hosted by PRS for Music. I made a film about it.

Now, she’s working with librettist and singer Lila Palmer and director Miranda Cromwell, on a production of a new opera entitled ‘Dead Equal’, featuring the stories that aren’t heard about women in combat during World War One.

Like the workshop participants who featured in Thoroughly Good Podcast 39, there is an unshakeable energy to be fed off when you’re in the company of enthused individuals. I felt it at PRS for Music, and looking back over some of the footage I captured at last night’s launch event for a film I want to make about their work, I felt it again last night.

More and more I find I’m drawing inspiration from the people I speak to as I make the stuff that seeks to spotlight their endeavours. Powerful.

There are a mammoth 19 shows programmed for ‘Dead Equal’s run at the Edinburgh Fringe this year. I don’t envy them. The Fringe offers great opportunities, but demands a great deal from its performers. I’m in no doubt they’ll triumph, just like the subjects of the story they’re telling.

Pledge your support for ‘Dead Equal’ on the production’s Crowdfunder page.

Review: Violinist Daniel Pioro plays Beethoven Sonata Op.96, Biber and Lark Ascending at Wigmore Hall

Daniel Pioro is an intriguing performer with a gentle presence on stage. He moves and speaks with intent. His body follows the trajectory of the music he’s playing. And he plays with a delicate kind of sweetness I’ve not heard before.

These characteristics alone made the cool clear air of Wigmore Hall an ideal setting for Pioro’s performance style.

But there was, from the moment he walked on stage, an other-worldliness to Pioro that made this an unusual experience for the listener.

Pioro has a stillness about him that sets a slower pace for the audience member long before he starts to play.

There is no flourish, razzmatazz or affectation when arriving on stage, only natural rhythm. Calmness descends, the bow rises and falls, and the notes sound. The mechanics of the process are left far behind (in the dressing room). What we see is music being drawn in front us.

It’s clear where Pioro most feels at one: long expanding melodic material that expands over a long period of time, supported by an emotional maturity that was solid and unwavering. The adagio of the Beethoven violin sonata in G was a case in point, though his most sonorous sound was reserved for Clare O’Connell’s deft arrangement of Vaughan Williams Lark Ascending for violin, viola, cello and piano. Here Pioro exchanged the bright sweetness he’d deployed in the Beethoven with something richer and rounder.

The pathos of the Lark Ascending was brought to the fore inducing a few tears to roll down the cheek. But, it was Biber Passacaglia in G minor that opened the programme that I especially enjoyed. More and more I’m appreciating those musical introductions which transition the audience from outdoor to indoor experience.

Here Pioro thrived, at ease on the stage bringing that trademark stillness to bear at the beginning of the work before making small moves from left to right of stage as he played. This created an unexpected sense of inclusion and intimacy to proceedings. At tones during the Biber there was even the sense that he was accompanying the music on stage rather than playing it. Again, I’m not sure I’ve ever experienced that before. A quite moving affair.

That I found Daniel Pioro’s performance intriguing wasn’t entirely down to his rare sense of style (it’s worth flagging that the suit was a nice looking thing too), but the range of music he offered up and one or two biographical details too.

A recent Bedroom Community release entitled Dust sees him play a new work written for him by Edmund Finnis – Elsewhere. (Be sure to listen to the unusual arrangement for Lark Ascending there too.)

He’s also appearing at the Proms this summer with a new work by Jonny Greenwood (it will be interesting to see how that stillness translates to the Royal Albert Hall).

And personally speaking, I recall marvelling at his musicality in an ensemble setting during a stunning SCO concert in Kings Place last year. He also has connections with Manchester Collective. The man can switch between genres and locations with relative ease it seems.

One to watch.

Kris Garfitt at the Royal Overseas League Gold Medal Final

Trombonist Kris Garfitt wins Royal Overseas League Gold Medal Final 2019

ROSL remains a jewel of a competition, generously supported, and featuring a slew of engaging performances. More influencers should keep a closer eye on it.

Guildhall School graduate Kris Garfitt secured the coveted Gold Medal (and a £15K prize) at the Royal Overseas League Final last night at the Queen Elizabeth Hall, London with dazzling theatrics, charming modesty, and seemingly effortless musicianship.

His programme includeD pieces by Ropartz, Weber, and an entertaining showpiece by Folke Raba called Basta.

Chief judge (and the only man I know of who looks good in a spotty bow tie) Gavin Henderson led a considerable collection of eminent judges, and made good use of his platform before announcing the winner to draw attention to the ever-increasing demands student musicians face. A bleak future awaits those of us who take for granted the opportunity to peer at new musical talent year after year. The Royal Overseas League competition does much to fill the financial gap for a handful of the most talented.

My money was – no statement on the actual winner – on 22-year-old violinist Roberto Ruisi. Self-assured with a solid tone, out of all of the performers Ruisini took me on a journey throughout his unaccompanied Bartok sonatas. Some slips early on, eclipsed by remarkably focussed playing that come unassuming end left me hanging on a thread.

I enjoyed 24-year-old bass William Thomas thoughtfully put together programme, and in particular the opener, Brahms’ Feldeinsamkeit. Throughout his time on stage Thomas widened eyes and set hearts beating faster with a rich warm sound and precise delicate articulation. Sometimes his voice felt a little under-powered in the QEH acoustic and occasionally vowels sounded like they needed opening out at the top of his range. There warm a gratifying simplicity to his stage presence which made a possible contender for me.

Where Thomas built his programme around his strengths, pianist Joseph Havlat presented a programme which illustrate his personality as an artist. His was an unassuming presence on stage; expectations were subverted by Havlat’s dry humour in Poulenc’s playful Promenades.

The eye-catching performances of the evening were perhaps from those who had already won their categories, those showcasing whilst judges deliberated.

The Miras Trio are super-charged musicians who play with a mature kind of musicianship that belies their age. Electrifying as they were, it was The Hermes Experiment who stole the show. I’ve seen their continued rise on social media – evidence if raw talent, focus and enviable commitment – and assumed that they’ve already secured their position in the industry. I’m hoping that participation in ROSL helps widen their platform. Every performer brings an infectious energy to the stage and, speaking as a lapsed clarinettist, Oliver Pashley’s tone, articulation and all-round Pied Piper-iness is compelling. If you’re at one of their gigs and they’re asking for requests, be sure to ask for Meredith Monk’s Double Fiesta. Vocalist Heloise Werner is a marvel performing the Iberian-infused scat.

Overall this was well-produced event too. Speeches were short and punchy, with all but the most important prize winner left for the post-performance presentation.

ROSL remains a jewel of a competition, generously supported, and featuring a slew of engaging performances. More influencers should keep a closer eye on it.