It's BritSinf time again.
Stop yawning at the back. I know … same old post-gig euphoria with some fashion notes thrown in. I'll spare you this time and keep it short.
Best dress: Miranda Dale in a black lace gilet over an illegally low cut dress, the lower part of which appeared to be constructed from ripped spider webs and madness.
As per, the distaff contingent laughed the "black formal" tradition out of court, looking not unlike a mad witch's convention.
Best shoes: this evening's soloist, Nick Daniel: black Oxfords with lipstick pink soles and laces.
Right … The music:
First up: to lull any newbies into a false sense of security, a delightful little Mozart adagio arranged for strings and cor anglais. Lovely.
Look out … it's a BritSinf gig so expect to be startled.
It's Geörgy Kurtág time.
Two short and utterly beautiful pieces: Doodles for András Mihály's Birthday, followed by In Memoriam András Mihály, arranged for piano and strings by regular BritSinf collaborator and one of my personal deities, Thomas Adès. Divers instruments dotted around the stage and the auditorium, in amongst the audience. Weird, cacophonic beauty. I loved it.
Well, that certainly left a few mouths gaping. Awesome.
Now for some show-stopping fun: John Adams' classic Shaker Loops. The Brits have done the full orchestral version before so this time they gave us the septet. There ain't nowhere to hide when there are only seven of you, but the BritSinf are masters of clarity and precision (and frenzied dancing) and this one brought the house down and the first of several encores.
A quick break for wine, chatty and walkabout …
The second half was devoted to one piece: John Tavener's Kaleidoscopes, written especially for Nick Daniel and the BritSinf. Insanely complex and not really Tavenerish at all, this is so difficult to play that nobody else has dared try it, even though it's been around since 2006.
Perhaps only Heinz Holliger in his younger days would have the oboe chops to match Nick Daniel but I can't think of anyone else.
Multi-octave leaps, sustained and intensely fast legato passages that require a masterclass in circular breathing (he gave us a demo in the pre-concert chat, blowing a continuous oboe-player's raspberry for bloody ages, much to our mirth) and more towelling down than fat Elvis in his pomp.
And it's not just the oboe that's tricky. Nick stalks centre stage surrounded by four string quartets at the points of the compass, two double basses and a full set of temple bells and gongs.
No conductor. Four quartets playing in different time signatures, alternating incredibly slow with INCREDIBLYFAST and hitting the sudden-death stops absolutely together every time.
You shoulda been there.
Lots of encores, well deserved.
So, the 2014-15 season has kicked off. I've got my usual seat reserved for every show so look out for more of my blather and faff.
Nighty-night.
