Category: Music

New Elizabethan Award Showcase: Hey Nonie No Music And Far More Besides, Wigmore Hall, Lunchtime, 9 February 2019

I was keen to see this concert of young award-winning artistes, including two young guitarists, Jesse Flowers and Andrey Lebedev, who would be performing Elizabethan music. Actually, the Elizabethan theme included both Elizabethan periods – i.e. Tudor music and also music from the last 60 or so years.

Here is a link to the Wigmore Hall resource on this concert, which is not enormously forthcoming with detail but gives you an idea.

Ian Pittaway gets really irritated when I mention Janie’s aversion to the lyrics of a certain type of Tudor secular song, which she describes as “Hey Nonie No” music.

Ian P points out, perhaps with some veracity, that there is only one Elizabethan song that actually contains the offending words,
“Hey Nonie No”. Well, Ian ran out of road today, as the concert contained, amongst many other things, Thomas Morley’s It Was A Lover And His Lass, which certainly contains that line. I felt some of Janie’s finger nails digging into the back of my hand when we got to that bit.

But the Dowland songs were his usual darker stuff: In Darkness Let Me Dwell, Now O Now I Needs Must Part and Come Heavy Sleep, which Janie and I both tend to prefer both musically and lyrically.

Janie wondered why the words to these more substantial songs are not credited to their authors. I didn’t know the answer to that question but my guess is/was that they are words that had been handed down through oral tradition and that the first time they were published along with (e.g. Dowland’s) music, the authorship was lost in the mists of time. But at the time of writing I seek an authoritative view on this point.

Anyway, below is a more comprehensive list of the music played, taken from the programme.

Both of the guitarists played using modern, vertical fingers on the right hand rather than the horizontal finger technique Ian P is encouraging in me. I must say I thought the Tudor music sounded lovely on the modern guitar in the hands of both of these guitarists.

Janie and I also both enjoyed the modern-Elizabethan solo guitar pieces; Britten’s Nocturnal after John Dowland and Philip Houghton’s Ophelia…a Haunted Sonata. Let’s just say that we found the modern songs too difficult for us.

I had spotted sitting near to us one of my occasional real tennis pals from Lord’s, Michael, who I knew was an accomplished guitarist, as he had studied Benjy (my baritone ukulele/Tudor guitar) with great interest one time at Lord’s.

We chatted with Michael for a while during the interval, choosing not to bother with refreshments at that hour, before hunkering down for the short but more difficult second half of the concert.

Janie and I had never been to a Saturday lunchtime concert before and I’m not sure we’ll be returning on a Saturday lunchtime again in a hurry. It just doesn’t time well with our other regular activities, so it all felt like a bit of a rush, early in the weekend, getting to the Wig on time. Mind you, it is surprisingly easy enough to park around there on a Saturday lunchtime, we learnt…

…and we did very much enjoy the concert. Janie has decided to hedge her bets in the matter of the term “Hey Nonie No” music, by rebranding it as “Ring Around The Rosebuds” music. Very cunning.

Meanwhile I cannot find any examples of these youngsters playing Tudor music on-line, but here is a very young Jesse Flowers playing some Bach lute music transcribed for guitar, beautifully:

The Company Of Heaven, The Cardinall’s Musick, Wigmore Hall, 30 January 2019

A rare Wednesday evening at The Wig with Daisy – she rarely ventures into town Wednesdays, but this concert seemed too interesting to miss.

Here is a link to the Wigmore Hall stub for this concert.

It was being recorded for broadcast 31 January and will be available on-line – click here – shortly after broadcast for some while.

Highly recommended – we always enjoy Cardinall’s Musick concerts. We love their sound and we like the way that Andrew Carwood talks to the audience with a likeable mix of deep scholarship and folksy delivery.

Lots of unfamiliar pieces and even unfamiliar composers in there.

Here is a little vid of this group rehearsing and talking Byrd a few years ago:

I’m starting to get a bit fussy in my old age – perhaps because I am learning more about early music.

For example, it seemed to me that the Gregorian Chants interspersed in the Guerrero in the first half, were delivered (at least by the bass and tenor voices) in a staccato style when changing note within a word, quite contrary to the “smoothing” technique Ian Pittaway suggested to me. Patrick Craig, the countertenor, sang with that smoothing technique and it sounded cleaner to my ears. Janie thought the staccato was deliberate and fine.

I also found myself comedically irritated by a spelling mistake in the words for the Agnus Dei in the programme lyrics for that Guerrero mass…spelling that phrase Angus Dei at one point. It made me wonder whether there is a beef of God as well as a lamb of God.

But these are tiny points. The concert was a feast for the ears and just the calming experience I needed after a long day.

I particularly enjoyed the second half of the concert, with shorter pieces by Peter Philips, Philippe Verdelot, Adrian Willaert, Francisco Guerrero, Luca Marenzio, Daniel Torquet (“who he?” I hear you cry – Andrew Carwood is struggling to trace him too) and William Byrd taking the first 40-45 minutes of that second half.

There was a Christmassy encore by Hieronymus Praetorius – we were horrified to learn that, liturgically/technically speaking, we only reach the end of Christmas this weekend.

Still, we loved the concert and thoroughly recommend the broadcast to lovers of this type of music.

New Wave In A Sort-Of Tudor Stylee, 13 January 2019

As many friends and acquaintances know, I have been mucking around with a baritone ukulele for a few years now. I have also been taking an interest in the early music element of the instrument which is, to all intents and purposes, a Tudor guitar.

So I have recently been trying to combine some of the material I like for basic chordal strumming of songs I remember and like from my youth, with some of the techniques I’m starting to acquire to play early music.

Here are a couple of early efforts: Germ Free Adolescents and My Perfect Cousin, in the style of broadside ballads.

Here is Germ Free Adolescents in its original form by X-Ray Spex in 1978:

Whereas, here is my humble effort, unplugged:

My Perfect Cousin was released by The Undertones in 1980:

Whereas here is my more plaintive, unplugged version of the song:

Work in progress, admittedly, but I feel there is something there – for me, even if not for anyone else.

A Random Concert With John Random: Flauguissimo Duo, The English And French Gardens, St John’s Smith Square, 10 January 2019

It wasn’t really a random concert. Katie Cowling was supposed to be delivering a programme named Blow Ye Winds with Johan Löfving, but Katie was poorly so Johan showed up with another of his regular pairings, flautist Yu-Wei Hu, to perform a slightly different programme named The English And French Gardens. The medieval element had gone but a fairly similar Baroque assortment to that originally planned.

Here is a link to the SJSS archive page for the concert. Or if that doesn’t work, here is a link to a scrape thereof.

From and linked to http://www.flauguissimoduo.com/ – photo by Aiga Ozo

So, it might not have been a random concert but it was a Random concert, by which I mean John Random was going to join me. Or was he? There was some traditional too-ing and fro-ing with “can make it”, “can’t make it”, “can make it but might be late” messages. In the end, John arrived in time to see all but the first sonata.

John and I have been on a theorbo quest on John’s behalf for a while. Some Ogblog readers might recall our “hunt the theorbo” session in the National Gallery:

An Afternoon At The National Gallery And Stuff With John Random, 4 May 2018

Others might recall John’s visit with me and Janie to see the Les Kapsber’girls, at SJSS but their instruments of that sort were
smaller than theorbos.

Les Kapsber’girls, St John’s Smith Square, Then On To The New Extension Of The Royal Academy, 18 May 2018

So this concert closed a loop or two. John really did get to hear and see a theorbo. In fact, I think the concert included a little first for me too, as Johan Löfving played a short theorbo solo piece – I don’t think I had ever heard the theorbo as a solo instrument before. It was a lovely little piece. Coincidentally, it was by Kapsberger, which also closed a loop for John, as although he had seen Les Kapsber’girls, on that occasion the girls did not perform anything by their eponymous composer. I managed to find a snippet of Johan Löfving playing the very piece in question:

Not the best recorded audio nor video you’ll ever see, but a rare sighting of solo theorbo

Here is another short vid, which shows both of the Flauguissimo Duo – the Sonata by Johan Helmich Roman which they played as the closing number of our concert:

It really was a very charming lunchtime concert – these SJSS ones are such a treat when I can get to them and it was such a pleasure to be able to share that musical experience with John.

Afterwards John and I had a bite of lunch together in the crypt, which is a great place to eat and drink. John described it as his favourite crypt. Janie would agree wholeheartedly with that – she is also a devotee of the SJSS crypt, claiming that the crypt is the best thing about the whole place and that some small scale concerts should be held down there.

Our conversation covered many topics, some of which I mentioned had Ogblog pieces devoted to them, such as the story of the day I bought my hat and accosted Boris Johnson in the street while wearing it:

A Rather Strange Mix of a Day, 3 June 2016

John suggested that he would like to spend far more time reading Ogblog than he has available and that a decent length of custodial sentence might provide him with the time and inclination so to read.

I suggested that, on our way back to Westminster Tube Station, we might ask some of the more pugnacious Brexit protesters on College Green to provide John with the means to such a custodial sentence, but John demurred. Not dedicated enough to Ogblog, then?

Time flew by and I realised that I really needed to get back to the flat, as I had arranged further Renaissance/Baroque style activity for the rest of the day – a lesson on early music guitar technique with Ian Pittaway…

…who subsequently sent me a link to this lovely 10 minute vid by Elizabeth Kenny explaining everything you ever wanted to know about the theorbo but were afraid to ask…

…followed by a real tennis bout at Lord’s against a nemesis-like adversary, formerly a seriously top-ranking amateur cricketer, against whom I had never previously emerged victorious at tennis. But, steeled by all this early music, I did prevail for once this day.

After we parted, John had a similar second half to his day – journeying to Sidcup to see our mutual friend Colin Stutt perform in the Petts Wood Operatic Society production of 9 to 5.

John subsequently reported that:

Colin’s Dolly Parton impression is outstanding.

Sadly, we have no photo or video of Colin’s performance. Actually, that might be just as well.

Let’s sign off instead with some more Flauguissimo Duo – not a piece we heard on that day but a really lovely rendering of some Gluck and a chance to see Johan Löfving’s guitar playing and some beautiful virtuoso flute playing by Yu-Wei Hu:

Avi Avital With The Venice Baroque Orchestra, Wigmore Hall, 22 December 2018

Why, in the name of all that is good and pure, did I subject us to yet another nightmarish journey to the Wigmore Hall just before Christmas?

Did I not learn my lesson three years ago from that Brad Mehldau concert of Bach music?

Brad Mehldau, Wigmore Hall, 17 December 2015

Clearly not. In my own defence, I thought that activity would have died down by the Saturday before Christmas. For us, work-wise, it had – but not for the shops and shoppers in neighbouring Oxford Street. Who knew?

In any case, I was very keen to see and hear this concert. Janie and I had very much enjoyed the Avital Meets Avital concert some eighteen months earlier:

Avital Meets Avital, Wigmore Hall Lates, 23 June 2017

So I was fascinated to see how Avi Avital got on with Baroque music and sort of glossed over the proximity to Christmas when I booked this Venice Baroque Orchestra concert.

Suffice it to say that the journey was suitably awful for Janie and me to agree, “never again at this time of year”…again. Yet, also again, the pain soon turned to pleasure when we listened to the music and watched the musicians.

The Wigmore Hall was full to the rafters for this one, which is always good to see. Here is the Wigmore Hall stub on this concert.

Mostly Vivaldi, but we got to hear some Geminiani (of the Corelli variety) and one piece by a later Neapolitan composer, Giovanni Paisiello. Avi told a fruity anecdote about the difference between Venetians and the hyper-romantic Neapolitans.

Avi Avital also told an amusing anecdote from his early childhood about falling in love with the Winter concerto from Vivaldi’s Four Seasons, only to find out some years later that the piece he had actually fallen in love with was the Summer Concerto. Avi claims, it wasn’t until he went to Venice to work with the Venice Baroque Orchestra, that he actually experienced a violent summer thunder storm and realised why that stormy-sounding music represented summer rather than winter.

But the most interesting anecdote, which Avi told right at the end of the concert, was the fact that the concert very nearly didn’t happen at all. Most of the musicians were stranded as a result of the Gatwick Airport Drone Incident, which had required Avi’s team and the Wigmore Hall to work tirelessly rerouting musicians to enable the concert to go ahead. And we thought we’d had a stressful journey to that concert!

The orchestra are clearly seasoned exponents of this flavour of baroque music, although we felt that one or two members of the orchestra were not at their best that evening; perhaps travel or even life weary.

Avi Avital is an extraordinary, charismatic virtuoso of his instrument – his quality shines through all he plays. Yet, Janie and I both felt, some of the pieces that have been transposed from violin virtuoso pieces lose some of their musical quality through the transposition. Not for want of fine playing, but simply because the mandolin is a more limited, metal-stringed instrument. I enjoyed the change in some of the transposed pieces, but really missed the violin’s colour on others.

Below is a YouTube of a lovely, similar performance from a concert in Seoul a few week’s earlier:

Kosmos Ensemble, Lunchtime Concert, St John’s Smith Square, 15 November 2018

To some extent I was still basking in the glory of last night’s real tennis match, in which I had played a small but decisive part in the MCC’s recovery from near defeat to eventual victory against Middlesex University by three rubbers to two. In truth it was the incredibly exciting fourth rubber which turned the contest – our pair had some five match points against them in their rubber before turning it around. I played in the deciding fifth rubber.

The match isn’t up on the web yet (at the time of writing – I do hope it does go up eventually) – here’s one I featured in a few months ago – also a final rubber – see 6:30 to 7:20 on this vid.

But I digress.

The original plan for this SJSS lunchtime concert had been to go with John Random, but he had to pull out of this one. So I even considered missing out myself.

But when I re-read the SJSS stub about the concert…

…scraped to here if the SJSS link no longer makes sense…

…I decided that:

Wild Gypsy fiddling, Jewish and Greek music, and tango, alongside interpretations of Japanese, Polish and Sephardic songs…

…was just what I needed before going to the office on a Thursday afternoon. Not least because we have just returned from Japan, where we came across very little actual Japanese music…

…unless you consider eki-melo to be quintessential Japanese music:

But I digress again.

Anyway, I’m very glad I made the decision to go to SJSS that lunchtime and see the Kosmos Ensemble perform.

They are three very talented young musicians who met while studying at the Royal Academy of Music and formed this ensemble as a vehicle for their shared interest in world music.

Actually I don’t think we got any “Sephardic Songs” as promised, but we did instead get a Serbian lament and some Scandinavian music, plus even some Scottish and English themed music.

Some pieces worked better to my ears than others – one or two of the pieces inserted phrases from well-known works at a level of subtlety that might even make PDQ Bach blush.  I sense that all three of them are most at home with Eastern-European melodies and rhythms – but their virtuosity and curiosity help compensate for those elements of the programme that were not quite to my taste – I pretty much enjoyed the whole set.

For me the highlights were:

  • the Japanese-style piece Sakura (Cherry Blossom):
  • a version of Piazolla’s Libertango with a sort-of Klezmer cadenza at the end, which they have nicknamed “Liberklezmango”:

All three of the musicians: Harriet Mackenzie, Meg-Rosaleen Hamilton and Miloš Milivojević are clearly embarking on highly successful careers and I wish them well individually and as an ensemble.

Another Day, Another Guinness World Record Broken, Goodenough College, 8 October 2018

I am no stranger personally to breaking Guinness World Records, as explained and illustrated in the following piece…

Ultimate Love and Happy Tories, Ivan Shakespeare Memorial Dinner, Café Rouge Holborn, 3 March 2017

…and (perhaps less plausibly) I did claim another world record as a child, along with Paul Deacon, recorded for all posterity in my diary. This earlier claim has caused some controversy amongst the Alleyn’s School alumni:

Breaking The World Record For Coin Catching With Paul Deacon, Woodfield Avenue, 30 December 1974

So, when my business partner, Michael Mainelli, announced that, in his capacity as Master of the World Traders, he had decreed that the Guiness World Record for the most nationalities simultaneously singing a pop song was to be broken on his watch, I thought I should lend my considerable experience of world-record breaking to the enterprise. Especially as part of the purpose was to raise some money for charity.

Michael, looking masterfully iconoclastic

The world-record attempt was to be made in conjunction with Goodenough College (a wise and practical move given the size of the college’s hall and its international residency characteristics).

The extant record is (was) 72 nationalities, which doesn’t sound difficult to beat until you try. 

My attempts to coerce some of the rarer nationalities to Bloomsbury on the promise of refreshments and a chance to be a record breaker had very limited success.

However, I did turn up myself in my capacity as an Estonian E-Resident as well as a UK national. Whether my E-Residency will count or not is in the hands of the official authenticators. It is on a short list of “others” which might or might not count. But we believe we have kicked the extant record deep into touch even if none of the “others” are accepted. .. (Update: the e-residency didn’t count – but my attendance still counts of course). 

Yo!

The first part of the evening was a bit like trying to get through immigration at Heathrow after our beloved Prime Minister has had her bureaucratic way with Brexit. Everyone needed to register, have their nationality documents copied, witnessed, verified…

…only then could you complete the maze and enter the large hall where the sing-along took place.

…but without the chairs

Even then, we were all put through a further confirming, counting and segmenting into bite-sized zones to enable stewards and witnesses to confirm that we were all singing. We had over 200 people singing, representing up to 87 nationalities (including the three or four odd-bods like me) – well north of the previous record of 72.

But, despite the bureaucracy, it proved to be a great fun evening. There were lots of people I know there and I got to meet some new people too.

The choir-mistress got us to do some excellent warming up exercises to ensure that our minds, bodies and lungs were all to be working at full pelt when we went for the record.

Warming Up – photo borrowed from the World Traders Tweet

I was at the far end of the room – you can probably see three or four pixels of me in the above photo.

Then we practiced by singing “I’d Like To Teach The World To Sing”. I remember, even as a small child, finding that song cheesy. Yet it still turns out to be even cheesier than I remembered it:

Then we warmed up some more with Mamma Mia – another cheesy song but one with more communal fun singing characteristics:

But the actual world-record attempt song was Imagine, which we practiced once and then sang in full, even repeating the third verse to make absolutely sure that we exceeded three minutes, a required factor for our record it seems:

Actually, when we performed Imagine the second time – i.e. for the formal record-breaking attempt, it was a very moving experience. I think we all felt a sense of international cameradie and in the end we linked arms and swayed to the rhythm of our singing.

After the record attempt, the choir-mistress led us in another Mamma Mia to let off steam.

Then drinks. Plenty of them.

There were rumours on the night that a commercial enterprise was going to trying to break the very same record the next night. Indeed they sent some spies who tried to recruit singers from our event, which felt a bit sleazy to me. Anyway, word is, that those chancers only reached the 72 previously achieved and that our record should be confirmed.

We should learn quickly if/that our effort has been confirmed as a new world record. We ‘re quietly confident. I’ll update this posting once we know. Until then, you’ll have to imagine.

Update: the world record was confirmed and extolled some three week’s later while Janie and I were in Japan meditating atop a holy mountain.

Japan Day Ten: Journey To Koyasan And Cemetery Walk, 29 October 2018
WORLD RECORD FOR WORLD TRADERS

Yo!

Trio Mediaeval, Wigmore Hall Lunchtime Concert, 17 September 2018

I’m a big fan of this troupe. This is, I think, the third time we’ve seen them perform live, by which I mean we’ve seen them at least twice before…

…most recently at one of those late night concerts about three years ago…

Aquilonis, Trio Mediæval, Wigmore Hall Lates, 24 July 2015

…and before that a wonderful concert at the end of the last decade, at which I bought one of their CDs, Words Of The Angel, which we listen to quite often and which I thoroughly recommend:

Fragments – A Worcester Ladymass, Trio Mediæval, Wigmore Hall, 13 December 2009

But back to the here and now – this 2018 lunchtime concert. This is one of those BBC lunchtime jobbies, so we were in the extremely capable hands of Sara Mohr-Pietsch. Sara stewards these lunchtime concerts with such gentle, kind authority and efficiency, it makes one wonder whether she should be running the country. I suppose the country is a slightly tougher gig, but it could sure use some of the positive characteristics I have just described.

I have previously introduced Trio Mediæval as the Bananarama of mediaeval girl groups. Much like that 1980s pop trio, Trio Mediæval (a product of the 1990s as it happens) seems to have two stable members plus one newbie each time we see them.

The consistent pair are Anna Maria Friman (from Sweden) and Linn Andrea Fuglseth (from Norway), whereas the newbie this time was Jorunn Lovise Husan.

If Anna Maria and Linn Andrea were to pair up with a couple of Swedish blokes, I could start describing them as the Abba of mediaeval vocal music, which might be an even more marketing-friendly epithet. A thought for the girls to ponder, no doubt.

And thoughtful they are. They sing with smiles on their faces. They sing like people who absolutely know and love what they are doing. You sense that there is deep scholarship about mediaeval music in their work, yet also the willingness to adapt, experiment and make the music accessible to modern audiences.

This concert was a mixture of early English chants and motets, plus traditional folk songs from Norway and Sweden. It reads like an odd mix but actually worked very well. It has, each previous time, been a joy to attend their concerts and this one was certainly no exception.

Lulled into a blissful sense of security, Janie lulled me into a gentleman’s outfitters afterwards, helping me to spend far too much money upgrading my rather tired wardrobe. Anyone fancy some second hand jackets and trousers from the Bananarama and/or Abba era?

But I digress.

Here is a link to the Wigmore Hall resource for this concert.

If you want to listen to the whole concert and are hitting this page within 30 days of the broadcast, you are in luck. Here is a link to the BBC iPlayer recording.

If you have missed it or only want to here a snippet or two, here is some of the Worcester Ladymass material we heard:

…and here is a link to a Scandinavian folk song, although not one they sang at this concert:

Per Sua Maestà Cesarea e Cattolica, La Serenissima, Wigmore Hall, 9 September 2018

I can’t really explain why this concert didn’t really float our boat – it just didn’t. Janie and I were both feeling unusually tired that early evening – both short of energy for venturing out. We had been enjoying following the cricket and tennis over the weekend, the latter until reasonably late I suppose, but that wouldn’t normally put us off.

La Serenissima is an unusually large troupe for the Wigmore Hall – there as a lot of juggling and jiggling to fit everyone on the stage, so it all felt a bit busy.

The chorus missed their cue to enter right at the start of the performance, which led to more jiggling for stage space after the orchestra had prepared themselves spatially and tuned their instruments.

The concert was all music from the Imperial Court of Charles VI

I wanted to hear Caldara live as I had never heard any before. I rather liked his arias, actually. Quite beautiful.

I was amused that the first set was from Ormisda, re di Persia, singing praise to the God Mithras, about whom I myself lauded a few months ago following a Gresham Society visit to the London Mithraeum:

The London Mithraeum With The Gresham Society, 15 March 2018

But I knew the Conti comic opera material would not please Janie – nor did it much please me. In truth, the whole concert was a bit busy and noisy for us that night.

Come the interval, when we realised that the only substantially different piece on the schedule was a Vivaldi concerto, lovely though the RV171 undoubtedly is, we decided to make an early exit.  Here is Europa Gallant’s delightful recording, with Fabio Biondi on the fiddle:

The following is La Serenissima playing Caldara, but a sinfonia, not an aria – beautiful it is, though:

…and finally here is a Caldara aria, performed by Concerto Köln under Emmanuelle Haïm with the superb Philippe Jaroussky singing the aria.

Edinburgh Day Six: Vessel by Laura Wyatt O’Keefe, Sitting by Katherine Parkinson, #Pianodrome Live & Dinner Again At The Chop House, 22 August 2018

The weather really has mostly smiled on us for this visit to Edinburgh and in a way this day was no exception. Although it was drizzling hard in the morning, preventing us from playing tennis, the forecast said that the day would brighten up for our festival visit; which it did.

So we stayed home in the morning, making the most of the flat and having a cooked breakfast at home, using up some of the provisions we had bought in for hunkering-down purposes.

After brunch, off to town to collect tickets and then get to our first show of the day; Vessel at Bristo Square. Vessel is an excellent two-hander, performed by the writer, Laura Wyatt O’Keefe together with a fine young actor, Edward Degaetano, whom we bumped into and chatted with briefly after the performance.

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We thought this piece, about the abortion debate in Ireland and the effect the strong views on the issue can have on real women’s choices/lives, was a really excellent short play. It deserves a wider airing and it was a real shame that the auditorium was not full.

Our next show was at the Teviot with just over an hour between shows; plenty of time to pop across the way to Checkpoint for some reasonably refined refreshment and for me to start getting interested in the Middlesex score as the chance of a highly unlikely win started to emerge.

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On to the Teviot (what a grand looking Students’ Union that place is!) to see Sitting by Katherine Parkinson. This auditorium was full; probably because the play is by a known actress and had some exposure on the BBC. In truth, this was a rather contrived piece of writing about three life model sitters, apparently unconnected (although naturally connections emerge) and their relationship with an unseen and unheard artist.

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The performers; James Alexandrou, Grace Hogg-Robinson and Hayley Jayne Standing all did their best to rescue the rather slow, tame and at times predictable script. The audience whopped and applauded wildly at the end; perhaps because the BBC had endorsed the production…or perhaps it was one of the better things that many in the audience had seen.

We emerged from that experience feeling a little irritated that, of the two things we had seen today, the production with bigger names behind it was getting the bigger audience and plaudits, despite being the lesser production in our view.

Irritation that Middlesex still needed a wicket to secure a win turned to joy at that win, before we moved on to have a stroll across town…

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…in many ways retracing in reverse the stroll I took first thing in the morning when I visited Rohan Candappa’s show, a year ago to this very day:

A Day At The Edinburgh Fringe Festival With Old Muckers, 22 August 2017

Then we wandered around Charlotte Square for a while looking at the Book Festival and taking an ice cream in the sunshine.

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Then on to the Royal Botanical Gardens for some more irritation as we were told that we couldn’t see the garden ahead of our 19:00 concert there; we would have to walk all the way round the outside from the East Gate (where the fringe app had sent us) to the West Gate. This seemed ludicrously jobsworth-like to me during the weeks of festival if the gardens choose to play host to a venue. Being told that we weren’t the first to voice this grievance did not make us feel better.

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I snapped some genuinely dire cricket in Inverleith Park across the road while we waited for the Gardens to let the #Pianodrome Live audience in.

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The Pianodrome itself is a fascinating piece of construction, made from 50 recycled pianos, five of which can still be played within the venue. It seats about 50 people reasonably comfortably and another 50 uncomfortably. We had made sure to get there early to get relatively comfortable seating.

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A young woman in Edwardian drag with an infeasibly waxy false-tash acted as compère quite well.

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Janie and I already knew that we were to see a folk musician named Sam Gillespie (one half of The Brothers Gillespie) as a substitute for a prog rock band named The Brackish and were quite happy with the swap.  He was joined by Siannie Moodie who turned out to be an especially fine exponent of the Celtic harp (clàrsach). In fact they both turned out to be good instrumentalists but my goodness Sam Gillespie’s songs are dirgy and derivative. Imagine Donovan and Pete Seeger, both in a bad mood, writing songs together.

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Meanwhile additional people entered late (we guessed mostly the entourage of the substitute musicians) and some of them sat just under our feet. One young man who was clearly in with the in crowd made an especially redolent impression on us. What is it about people who hang around musicians and negligence with regard to personal hygiene?

There was also another musician involved briefly who played a glockenspiel-type percussion instrument but whose name seemed to be unlisted. Janie had unwittingly snapped him during warm up, so if anyone reading this recognises this man and his instrument, please message in his details.

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The act for the second half of the evening was also unlisted and the compère merely mumbled that name as we left for the interval; in our case not to return.

We fancied a nice dinner tonight and felt that we could get one of those if we were back in Leith at a reasonable hour, so I made a last minute booking of a table at The Chop House for another good red meat meal.

Again Ignascio looked after us very nicely as did the very sweet and attentive (if not the most efficient) waiting staff. One young waiter, on his third day, took a particular interest in helping us out with ice cream, so I invented a word for the equivalent of a sommelier for ice cream: Ísbíltúrier. Remember where you encountered the word first.

A very tasty end to another enjoyable day.

All of our photographs from our week away, mostly at the Edinburgh Fringe, can be seen on our Flickr album by clicking here on the picture below:

2018 August Edinburgh Festival Trip