Northampton Symphony Orchestra concert
17 December 2021
Because of the intervention of the Covid-19 pandemic, it has been two years since the last Northampton Symphony Orchestra Christmas Cracker concert - which always feels to me like the official start of Christmas. All last week, amid scary news about the rapid spread of the Omicron variant, I was convinced that this year’s concert was going to be cancelled at the last minute. So it was wonderful to find myself back on the stage of the Spinney Theatre in Northampton on Sunday afternoon in front of a sold-out audience (albeit with restricted numbers to allow for social distancing). The audience, and most of the orchestra, had to wear face masks throughout, and there were no mince pies, mulled wine or carol singing. Nevertheless it felt fantastic to be back playing the usual mix of Christmas tunes and film music after such a long break. Over the years, the traditional smattering of Santa hats and reindeer antlers amongst the orchestra has evolved into an increasingly competitive fancy dress competition. Those of us in the horn section prepared for our performance of Klaus Badelt’s music from ‘Pirates of the Caribbean’ with matching pirate hats, some elaborate pirate outfits, cutlasses and one 6-foot parrot costume! The centrepiece of the Christmas Cracker concert is always a narrated piece: this year we returned to ‘The Snowman’ by Howard Blake, with excellent storytelling by our compere Alan Bell and a brilliant solo rendition of ‘Walking in the Air’ by young soprano Elizabeth Aston. Another highlight for me was the stunning flute solo by Graham Tear in the final bars of ‘Han Solo and the Princess’ by John Williams (from ‘The Empire Strikes Back’). We finished the afternoon, of course, with an encore performance of Leroy Anderson’s ‘Sleigh Ride’ - and, at least in that moment, normality was restored. It was a lovely concert: a happy and moving experience.
Labels: Concerts, Music
‘Blue as the Turquoise Night’ by Eric Jacobsen, Kayhan Kalhor and Sandeep Das
10 December 2021
I first discovered the Iranian musician Kayhan Kalhor through his 2004 album with Ali Akbar Moradi, ‘In the Mirror of the Sky’. Kalhor plays the kamancheh - a Persian bowed string instrument - and combines Iranian classical music with Kurdish folk music. His playing has a beautiful, eerie quality. I love ‘Silent City’, the album he made with the Brooklyn Rider string quartet In 2008 which creates a stunning ambient sound world, like a film score for an imaginary film. This week I have been listening to ‘Blue as the Turquoise Night’, a new album by Kayhan Kalhor, Eric Jacobsen and Sandeep Das. It’s an interesting collection of pieces including ‘Blue as the Turquoise Night of Neyshabur’, a four-movement work composed by Kayhan Kalhor for Yo-Yo Ma’s Silkroad Ensemble, here featuring Kalhor’s kamancheh soaring over a full string orchestra, accompanied by Sandeep Das on tabla. But the track that has really caught my attention is the sublime ‘Atashgah’, composed for Kayhan Kalhor and Brooklyn Rider by Colin Jacobsen, one of the quartet’s violinists, here in a version for string orchestra conducted by the composer’s brother Eric Jacobsen. Kalhor’s kamancheh has an improvised conversational quality, appearing to tell a passionate story that builds to a joyous conclusion backed by luscious string harmonies. In complete contrast, the album also includes two Balkan tunes featuring the New York Gypsy All Stars and an RD Burman Bollywood composition arranged for tabla and strings. It’s an odd but fascinating mixture.
Labels: Albums, Music
‘A Thousand Ships’ by Natalie Haynes
3 December 2021
I’ve written here before about my enthusiasm for BBC Radio 4’s ‘Natalie Haynes Stands Up for the Classics’ (reviewed here in July 2020) in which the comedian and classicist Natalie Haynes takes a fresh look at the ancient world. I’ve now finally got around to reading ‘A Thousand Ships’ - Natalie Haynes’ version of the Trojan War through the eyes of the women. The book is a surprisingly straightforward retelling of all the familiar stories, albeit from welcome new perspectives. We get Clytemnestra’s take on her revenge against her husband Agamemnon, Cassandra’s frustration with having to live with the curse of her foresight and, best of all, Penelope’s increasingly exasperated unanswered letters to her absent husband Odysseus as he manages to take 10 years to return from his victory at Troy. These letters take a Joyce Grenfell-like approach to the Odyssey. Although she starts the book with the fall of Troy, Natalie Haynes fills in all the backstories in the way a sophisticated modern TV show would. ‘A Thousand Ships’ is, necessarily, very episodic - more a series of short stories - but by alternating between the various characters, and using flashbacks to create a non-linear narrative, keeps us engaged throughout.
Labels: Books
