• As part of my course this year I have elected to take part in a Critical Writing course, where I am taught how to analyse performances and offer my opinion in a critical way.
• The teachers are very enthusiastic which makes the course seem very exciting.
• We discuss and write about dance, acting and music.
On Friday 17th October, I went to watch a concert with my friends Samantha Quillish and Chelsea Palskitt and I thought I would use the opportunity to try and see if I could have a go at writing a piece for my module. This is my first attempt so I would love any feedback that you could give me :).
SCO: Haydn & Mahler
Glasgow City Halls
The evening started with the powerful and emotional performance of Howokawa’s Meditation. An incredible interpretation and dedication to the victims of the Tsunami on 11th March 2011, focusing on the children lost in the disaster. It included a ferocious duet from violins who appeared to embody demons, their bows striking and hair whipping, which created a visual element to the piece. However the energetic music was interrupted by deathly silent pauses and animalistic sounds created using modern playing techniques. These sounds made me imagine the shrieking cries and the wailing of the school walls crashing into the ground. Then this sound world was disturbed aggressively by thunder claps from percussion which made your ears ring, and your heart race. Waves of music and a sense of destruction filled the pauses after each three consequential hits. ROBIN TICCIATI allowed the sound to reverberate around the hall and die into terrible nothingness. A dynamically active and emotionally hard hitting opening to a Friday evening.
Programme note: http://www.sco.org.uk/content/meditation?print=1
The Scottish Chamber Orchestra (SCO) then welcomed KAREN CARGILL to the stage to perform ‘Kindertotenlieder’ by Mahler, continuing the theme of mourning of lost children. From the opening Cargill captured the solemn landscape of this music honestly and gripped the audience’s attention. Standing tall and free from physical tension she displayed with clear consonants and richly dark vocal tone the suffering a parent encounters after losing a child. The cycle continued to develop and an unsolvable pain resonated through the interpretation, through to the last song where Cargill gripped her hands into fists during the introduction. The first sign of physical embodiment of the text. This arriving at the end of the cycle left the audience spellbound and overtaken.
Programme note: http://www.sco.org.uk/content/kindertotenlieder?print=1
After the interval the SCO performed Mahler’s ‘Blumine’ which caused me to imagine a Disney scene of a park in the spring, surrounded in flowers, where two loves meet to celebrate their love with a first kiss. With a regal tone setting the mood this delicate piece painted a sweet and enjoyable scene, a great contrast after a deeply moving first half.
Programme Note: http://www.sco.org.uk/content/blumine?print=1
The concert ended with the rich and sonorous performance of Haydn’s London Symphony. Ticciati had a creative control over the orchestra and executed echoes and the shape of the piece with enthusiasm and excitement. The music was very merry and triumphant. However, I couldn’t help but wonder how the piece could be interpreted to represent modern London. With all the characters and experiences it has to offer now. But it was a magnificent way to finish the concert. But for me the opening piece of the evening was outstanding and really got my blood pumping!