Tag: Royal Festival Hall

A Concert With Cousins Angela & John, London Philharmonic Orchestra, Royal Festival Hall, 28 March 2012

This concert was the evening before Uncle Michael’s funeral, for which I was scheduled to be the soloist – i.e. eulogist.

Angela and John are patrons of the London Philharmonic Orchestra (LPO). They suggested that I might join them for this concert. An element of bonding exercise and an element (I suspect) of last minute stage management. John had stuck his neck out a little with his Rabbi by suggesting that a member of the family undertake the eulogy and they didn’t want any mistakes.

We discussed matters over drinks and nibbles with the patrons and benefactors before the show.

“Rabbi Rosenfeld is absolutely clear that you should keep the eulogy brief”, said John – who is a graduate of the Arsène Wenger school of management.

“I got the message – I’ve timed the speech; eighty-nine minutes…”

“…EIGHT OR NINE MINUTES…if it goes past ten minutes I’ll shut you up myself…”

…I think John knew I was joking.

Meanwhile, unlike our family funeral, the concert was not going to proceed as planned. The Canadian conductor Yannick Nézet-Séguin had gone down with “severe gastric flu” (as described in the apologetic programme note.

So we had a late substitute from one of the other dominions, Australia, in the form of Matthew Coorey.

The result was a game of two halves in some ways.

Supersub Coorey was spared the first half of of the concert, as Georgian violinist Lisa Batiashvili, wisely, chose to lead the orchestra herself in the Mozart Violin Concerto No 3.

I say the first half…of course the Mozart is quite a short work whereas the second half, Mahler Symphony No 9, is a 90 minute marathon. So it was more like an 80:20 thing than a game of two halves…

…I’m digressing. Point is, while the first piece I suspect included all the nuance and personality that had been planned for this concert. I have an affection for that simple but charming piece and it was delivered very well that night.

By cointrast, the Mahler seemed, while very professionally performed, a somewhat retreated, standard performance of the great work. Hats off to Coorey for taking on such a monumental work at such short notice. But “letting the orchestra just do its thing” is probably as good as it gets in those circumstances.

Here is a short video of Lisa Batiashvili playing at home, Tbilisi. I couldn’t find a legitimate vid of her playing Mozart so I thought this gorgeous piece of Bach would do nicely.

While here is a short vid of Matthew Coorey conducting. It isn’t Mahler…instead it is Kodaly, so there is still rather a lot of early 20th century noise and some unusual percussion – it was the closest I could find:

Cecil Taylor Quartet featuring Anthony Braxton, supported by Polar Bear, Royal Festival Hall, 8 July 2007

Oh dear!

We had enjoyed some real success fairly randomly booking jazz concerts and both felt that we wanted to broaden our jazz horizons yet further. We didn’t know what music from the “Free Jazz Movement” sounded like, but when paired with terms such as “avant-garde jazz” and “controversial”, we thought that the Cecil Taylor Quartet featuring acclaimed saxophonist Anthony Braxton might really be for us.

Better still, with my South Bank Centre membership and early booking, there were box seats to be had. Neither of us had ever tried the boxes at the Royal Festival Hall before.

Better yet, on the night itself, we really enjoyed the support band, Polar Bear, also billed as “experimental”. I remember the spokesperson between numbers introducing one piece they were working on, entitled “Lente”, because his Italian girlfriend would use the word “eccellente”, shortened to “lente”, all the time. I remember this, because Daisy and I to this day sometimes use this term to express a big yes. It all seemed well cool.

Great, we thought, this is our sort of Jazz. We were really excited during the interval. If the support band is that good, the main act must be unbelievable.

It was unbelievable, but not in the way we’d hoped.

What a noise. It really is hard for me to describe it. Frenzied. Lacking melody and tone for simple folk like us to engage with. Perhaps past its peak. Perhaps absolutely at its peak – can’t help you there – we really couldn’t tell. A Jazz Geek describes it here. A detailed piece from All About Jazz explains how historic and excellent (lente?) it all was. Possibly quite peaky, then.

There is an old adage about jazz that it is the only form of music where the musicians are enjoying themselves more than the audience. Perhaps that adage was especially written for the Free Jazz Movement.

At least we can say that we have seen Cecil Taylor and Anthony Braxton perform together, historically. Perhaps in our dotage this fact will enable us to come across as incredibly seasoned and sophisticated Jazz aficionados. Wide-eyed youngsters might gather round to hear us describe our experiences; “we suffered for our art back in the day, children, my how we suffered.”

Of course, this “free jazz” concert wasn’t free at all. £35 a ticket (for some reason I kept the tickets) – worth the price of admission for the more modern, experimental and accessible Polar Bear alone. Perhaps the old 1950s movement was known as Free Jazz because no-one in their right mind would pay to hear it.

Still, those box seats proved to be a boon for us. After enduring 40-45 minutes of the Cecil Taylor set (each number was quite long and we were determined to check this out properly), we concluded that we would get no more out of this experience. Those box seats enabled us to make a quick escape between numbers almost imperceptibly and without disturbing other patrons.

Free at last, free at last…