Plug in

I went to see Esprit Orchestra’s show Plug in at Koerner Hall last night.  I don’t often go to purely orchestral concerts but Jenn Nichols was dancing and I have this feeling that I ought to listen to more contemporary music.

The first piece; Symphonie minute by José Evangelista, is a highly compressed “symphony” in four movements.  Each movement only lasts a couple of minutes and it uses a large orchestra.  It’s intriguing that in such a short time each movement has a clearly defined character.  It’s quite dissonant but very easy to listen to and doesn’t outstay its welcome.

Dress Rehearsal 2

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Looking ahead to February

groundhog-day-usaFebruary is going to be really busy so I think I’ll take the previews in chunks.  First up though one event in January I haven’t yet had opportunity to mention.  This coming Sunday 21st Fawn Chamber Creative have a PWYC fundraiser for their in process  opera-ballet project.  It’s from 2-6pm at The Smiling Buddha.  It will be party, silent auction and some performance.  Previous ones have been fun but I’m booked Sunday.  Details at: http://www.fawnchambercreative.com/events/upcoming/. Also in January and missed off the radar, on the 28th at 3pm at Mazzoleni Hall,the Amici Ensemble have a Strauss inspired concert featuring the lovely but tiny Sasha Djihanian who is current holder of the loudness to weight record for a soprano.

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Berio Folk Songs

KLP171003-_D850281Yesterday’s lunchtime concert in the RBA featured members of the Esprit Orchestra and Krisztina Szabó.  Two instrumental pieces kicked things off.  There was an Andrew Staniland composition for snare drum and electronics; Orion Constellation Theory, played by Ryan Scott.  This was quite witty and inventive.  Very Staniland in fact.  Then came a three movement work for solo harp; Alexina Louie’s From the Eastern Gate played by Sanya Eng.  For two movements it was light and bright using mainly the upper end of the harp’s range.  It was engagingly tuneful too though not in any kind of conventionally tonal way.  The third movement was darker, louder and more dramatic, brooding even, and using a far wider range of the instrument’s capabilities.  All up, an interesting piece.

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