London Contemporary Orchestra at the Reverb Festival

Von Paul Kilbey, 05 März 2012

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Veranstaltung anzeigen

Rezensierte Veranstaltung: The Roundhouse, London, am 3 März 2012

Xenakis, Metastaseis

Prokofiev, Concerto for Bass Drum and Orchestra (European Premiere)

Greenwood, Doghouse

Stockhausen, Studie 1

Vivier, Orion

London Contemporary Orchestra

Hugh Tieppo-Brunt, Musikalische Leitung

Joby Burgess, Percussion

Gabriel Prokofiev, Electronics

Daniel Pioro, Violine

Robert Ames, Viola

Oliver Coates, Cello

Requiem to a troubled genius at the Southbank’s Multitudes

Chris Garlick, 29th April

As part of the Southbank Centre's Multitudes festival, Unnatural Harmony: Sounds of Lee Alexander McQueen offers a multimedia tribute to the life and creative vision of the iconic British fashion designer.

****1

Glass' complete exploration of Bowie's Berlin Trilogy

Gus Mitchell, 9th May

Glass and Bowie meet again in the concluding chapter of his Berlin Trilogy symphonies at the Royal Festival Festival

****1

An apocalyptic spectacle from Robert Ames and the LCO

Timmy Fisher, 31st October

Excellent performances of Scelsi's Uaxuctum and John Luther Adams' prescient Become Ocean were by accompanied by an impressive, but ultimately distracting audiovisual display.

***11

Grey reverie and awkward electronics

Danny Riley, 6th September

The LCO and Actress present tantalizing textures, while new works of placid emotion envelop the senses.

***11

London Contemporary Orchestra Soloists at the Royal Albert Hall

Paul Kilbey, 10th July

Contemporary classical music is happening in all manner of unexpected venues in London at the moment, from Peckham car parks to pubs. But it isn't just getting edgier – it's also getting more respectable, if last night's suave affair in the Royal Albert Hall's Elgar Room is anything to go by.

****1

Grisey and Suckling in Shoreditch Church

Paul Kilbey, 12th December

Reading Gérard Grisey’s programme notes on his masterpiece Vortex Temporum is not the most agreeable experience. The reader is informed that the work is structured around ‘three basic forms’: ‘the original event – a sinusoidal wave – and two continuous events, an attack with or without resonance as well as a sound held with or without crescendo’.

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Paul Kilbey

Paul was Reviews Editor at Bachtrack from 2012 to February 2014. He has written on music and culture for publications including Culture Wars, the Huffington Post, the Independent and the Guardian. He holds BA and MPhil degrees in music from Sidney Sussex College, Cambridge, and is particularly passionate about contemporary music of all types. His website is here.