As a summer of festival music-making begins, on the same weekend as Glastonbury an altogether different event embracing a range of music happened in Manchester. Known as “mcr classical” it placed at its heart the four professional instrumental ensembles based in the city, along with a range of student and world music groups and choirs.
Each of the main stage events happened in the auditorium of Bridgewater Hall, with others in other spaces around the building. Saturday's featured concerts were given by The Hallé, BBC Philharmonic, Manchester Collective and Manchester Camerata. The three concerts in the middle of the day were the undisputed highlights, each with a very distinctive feel and contrasting audiences. While some diehard fans attended everything, others dipped in and out of different concerts.
The BBC Philharmonic’s contribution, led by Anja Bihlmaier a programme focused on one Central European nationality. Three Hungarian Dances by Brahms brimmed with character, Bihlmaier using effective rubato to bring narrative to each. Following came a fine performance of Bartók’s Concerto for Orchestra. Throughout this demanding orchestral showpiece, the BBC Philharmonic made it look and sound effortless, from the ethereal to the earthy there was a magic in their insightful interpretation.
Late afternoon saw the Manchester Collective opened their programme with Hannah Peel’s Neon for sextet of piano, violin, vibraphone, clarinet, flute and cello, a pleasing piece in a similar vain to Steve Reich’s Double Sextet that closed the set. Neon is cast in three movements with pre-recorded sounds and the ensemble played with enthusiasm and rhythmic precision. An intensely dark work for solo cello followed, Industry by Michael Gordon, was an obvious favourite of many younger audience members, even if not for the faint hearted. Playing to a recording of themselves, Reich’s Double Sextet was hypnotically captivating.
The Hallé gave their first concert with Kahchun Wong since announcing him as their next principal conductor earlier in the week. Joining him in the opening piece was saxophonist Jess Gillam playing a concerto written for her by her teacher, John Harle. Briggflats (2019) is a three-movement concerto. The language is tonal and rather cinematic and in each of three movements Flares, Garsdale and Rant!, Gillam was utterly commanding. Her undoubted stage presence was captivating, and the technical skill she exhibited was staggering; this, combined with her incredible musicianship, made the performance truly memorable.
Wong conducted Mussorgsky’s Pictures at an Exhibition (orchestrated by Ravel) without a score, every movement phrased expressively. The orchestra were with him 95% of the time, although there were a few occasions where you could have wished for more, but one will take away Wong’s vibrant rendition.
Introducing and linking the works in each concert was BBC Radio 3's Tom McKinney. For each concert there were no programme notes, however McKinney spoke to the artists and conductors in an approachable, warm way, putting everyone at ease. All in all, this was a fantastic, informal and innovative series. The concerts offered something uniquely different and – at one hour – each was the a perfect length for seasoned Hallé or BBC Philharmonic groupies or Bridgewater Hall newbies.
Leighton reviewed three of the four main stage performances on Saturday (see listing in side-panel).
