Micachu, Adès and Lucier: Oliver Coates' Harmonic Series at the Southbank Centre

At Wigmore Hall, Apartment House entertains and delights in a day of concerts, while Elaine Mitchener finds her voice in impressive style. 

“Take an object. Do something to it. Do something else to it. Do something else to it”. These are Morton Feldman’s own words on his Patterns in a Chromatic Field. And they are a concise and accurate description of what occurs during the piece. Patterns... is one of Feldman’s later works, composed in 1981.

There’s something strange about applauding at the end of very quiet music: it is counterintuitive to make more noise clapping than the performers made during the actual performance. But the appreciative Kings Place crowd in Hall Two knew the drill, and this concert of “Some Recent Silences”, as it was billed, proved justly popular.

Music We’d Like to Hear, an annual series of concerts curated by the composers Markus Trunk, John Lely and Tim Parkinson, has reached its ninth year of sharing an eclectic, often esoteric selection of experimental music with its small but loyal following.

Chor und Orchester des Collegium Vocale Gent und ihr charismatischer Leiter Philippe Herreweghe, längst Legenden der historischen Aufführungspraxis, beweisen, dass die Doppelchörigkeit der Matthäus-Passion nicht nur ein Stereo-Phänomen ist.

Eine Deutung, die am Karfreitag den emotionalen Höhepunkt des Todes höchst ergreifend einfängt. Und sich an den zentralen Partien ausrichtet, die mit optimalen Kieran Carrel und Konstantin Krimmel im Gedächtnis bleibt.