At Home in a Foreign Land is a series of concerts, or gigs as the versatile McFall’s Chamber calls them, examining the themes of migration, exile and displacement. Earlier in the year, Giya Kancheli’s beautifully sparse settings of Psalm 23 and the poems of Paul Celan and Hans Saul were performed with a soprano in solemn church settings. As if an antidote to all that austerity, this exuberant performance where jazz trio meets string quartet with clarinet was the complete opposite with the group revisiting some favourites and introducing us to three new works. Like a rock concert, everything was miked, but intelligently mixed taking a less-is-more approach achieving a superb balance of sound in Edinburgh’s Queen’s Hall.
Pianist Paul Harrison’s Consequences, a reaction to political dissatisfaction, is clearly even more apt today than in 2015 when it was written. A lively opener with piano syncopations rising over string rhythms and lightly dancing drums from Stuart Brown, it built into an exciting climax using block chords from the strings with solos from Maximilano Martín’s bright clarinet and Su-a Lee’s cello, ending quietly but restless.
Harrison’s new work, Born in Dirt and Din from a poem by ‘Red Poppy’ was a soundtrack to an imaginary silent film about Clyde shipbuilding. A double dose of electronics from Harrison’s small synthesiser and the drum kit and percussion helped set up a mechanical soundtrack with a large assortment of bangs and whizzes, a structured cacophony as the players entered, relief from the driving energy coming from a lyrical cello duet with double bass creating a chord sequence with welcome warm intervals.
Dutch based, Scottish composer Vivian Barty-Taylor’s new piece Red Blue Balance uses natural pure interval tunings. He joined the group to explain how his rhythms derived from the “Golden Ratio”, plugging in his laptop to alter the pitch on Harrison’s keyboard. A wash of synthesiser against dense strings, the clarinet set up a gentle dissonance as Iain Sandilands was kept busy on percussion from woodblocks to lightly struck tubular bells. When not playing, each musician took up conducting duties beating out a slow three beats as the music swirled around in complicated cross rhythms, the natural tuning adding an astringent quality to the sound as Robert McFall’s violin tussled noisily with the clarinet.