Classical Explorer, Colin Clarke

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Meisel’s achievement in [his music for] Battleship Potemkin is his mastery of tension; his quieter moments are riven with angst and potential energy… dramatic, quiet trills later speak of discontent and upcoming revolt. There is a swaggering theme not too long after this that was brilliantly done by Ensemble 360 and [conductor] George Morton.

Morton’s ability to match music to image was superb: the smashing of a plate, for example, is mirrored in the music, and how well it was done; a side-drum for a shot, too. was highly accurate. Some individual members deserve praise, not least Rachel Roberts’ viola solo as Vakulinchuk’s body is taken; there is no missing the funeral march thereafter.

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The final event I attended was the 2pm ‘Relaxed Concert,’ Appalachian Spring, wherein Ensemble 360 was joined by members of the Elias Quartet. There was a slightly expanded version of this in the evening, to include Richard Strauss’ Metamorphosen. In a bid to explore the idea of the relaxed concert… I heard Copland’s Appalachian Spring from just outside the theatre in one of the ‘relaxed spaces’. I did sit in the auditorium for the performance of Barber’s Canzonetta for oboe and strings (arranged Wilson), a late work beautifully played by the arranger, Adrian Wilson…

“It was a beautiful performance.”

For many in the audience, how lovely it must be to hear these pieces so young (the event is particularly aimed at children). The performance of that Adagio (heard first) was simply lovely.

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… and what could be better than relaxing to Copland’s joyous Appalachian Spring, so full of melodies we all know so well? I can’t comment too much on this as I was lolling on a sofa in the foyer, but it did hit the spot.

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