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Nash Ensemble at 60 review – world premieres and evocative old favourites
Wigmore Hall, LondonFrom Simon Holt’s bird-like Acrobats on a Loose Wire to Helen Grime’s haunting Long Have I Lain Beside the Water, the four new works join more than 330 commissioned over the past six decadesIt would be hard to overstate the Nash Ensemble’s impact on the creation of new chamber music in the UK: more than 330 works since Amelia Freedman founded it as a student 60 years ago. The group’s anniversary season at Wigmore Hall, already peppered with new commissions, culminated in a day of concerts of which the finale contained four more world premieres, plus works from previous round-number anniversaries. Stravinsky’s 1920 Concertino was the outlier in this context, but its punchy, bouncy rhythmic drive made it a good opener.First of the “old” Nash works was Elliott Carter’s 2004 Mosaic, in which seven other instruments are corralled into cohesion by the harp: a virtual concerto, and a winning showcase here for the harpist Hugh Webb. Peter Maxwell Davies’s 2014 String Quintet was the weightiest work on the programme, infused with hints of Orkney music and with striking moments for the pair of cellos, played here by Adrian Brendel and Gemma Rosefield. Julian Anderson’s Van Gogh Blue, a Nash commission from 2015, struggled to hold its intensity as the two clarinettists moved around the hall between movements, but the sounds created by them and the ensemble, conducted by Martyn Brabbins, were increasingly evocative nonetheless, the finale a cacophony of unruly swirls like the artist’s Starry Night. Continue reading...
Wigmore Hall, London
From Simon Holt’s bird-like Acrobats on a Loose Wire to Helen Grime’s haunting Long Have I Lain Beside the Water, the four new works join more than 330 commissioned over the past six decades
It would be hard to overstate the Nash Ensemble’s impact on the creation of new chamber music in the UK: more than 330 works since Amelia Freedman founded it as a student 60 years ago. The group’s anniversary season at Wigmore Hall, already peppered with new commissions, culminated in a day of concerts of which the finale contained four more world premieres, plus works from previous round-number anniversaries. Stravinsky’s 1920 Concertino was the outlier in this context, but its punchy, bouncy rhythmic drive made it a good opener.
First of the “old” Nash works was Elliott Carter’s 2004 Mosaic, in which seven other instruments are corralled into cohesion by the harp: a virtual concerto, and a winning showcase here for the harpist Hugh Webb. Peter Maxwell Davies’s 2014 String Quintet was the weightiest work on the programme, infused with hints of Orkney music and with striking moments for the pair of cellos, played here by Adrian Brendel and Gemma Rosefield. Julian Anderson’s Van Gogh Blue, a Nash commission from 2015, struggled to hold its intensity as the two clarinettists moved around the hall between movements, but the sounds created by them and the ensemble, conducted by Martyn Brabbins, were increasingly evocative nonetheless, the finale a cacophony of unruly swirls like the artist’s Starry Night. Continue reading...
