Fidelio Trio

Cheltenham Music Festival: Fidelio Trio, The Will Gregory Moog Ensemble, Tokaido Road

Posted on by 5:4 in Cheltenham Music Festival, Concerts, Premières | 1 Comment

Over the weekend, three concerts at the Cheltenham Music Festival, in different ways and for different reasons, caused one to reflect on the present within the context of ideas, experiences and memories from the past. The most frustrating and patience-testing were to found in the Saturday afternoon recital at the Pittville Pump Room given by the Fidelio Trio, the first half of which presented a threesome of works of the kind where composers dearly wish them to be more than the sum of their parts. Graham Fitkin‘s Lens, Michael Zev Gordon‘s Roseland and Tom Stewart‘s Flying Kites: Concentric Circles (receiving its première) took turns to mooch through material so terrified of doing anything demonstrative that they remained trapped in a limbo of blank tonality. Restraint and simplicity do not make something profound, a fact lost on these pieces, their respective blind, senile, melismatic bleatings lacking any meaningful emotional weight or poignancy. The second half brought relief: Piers Hellawell‘s Etruscan Games offered very much more focussed lyricism, the ambitious third movement in particular exploring an impressive density of counterpoint. Arlene Sierra‘s duo Avian Mirrors provided three charming snapshots of behaviour, the last of which, ‘Display’, was amusingly direct, violin and cello (serendipitously played on this occasion by men) becoming a preening, posturing pair of rivals in search of a mate, the material a wild display of testosterone-fuelled showmanship. But overshadowing them all was the concert’s final work and second première: Gavin HigginsThe Ruins of Detroit. Where the music of the first half seemed to cleave to something undefinable from a less-demanding earlier age, Higgins confronted the past with courage. Titled after and inspired by the famous photographs by Yves Marchand and Romain Meffre, the piece opened in a place of anaemic fragility (bringing to mind the start of Thomas Adès’ Arcadiana), given hauntological resonance in deep muted piano notes. Here, finally, was lyricism was a real sense of context. Negotiated with necessary sensitivity by the Fidelio Trio, Higgins’ textures were often strikingly vivid, as in a later episode where the piano became a kind of abstract water dripping on romantic memories of former glories. Appropriately, the material often decayed from melody to fragment to gesture, during which one became aware of something vestigial beneath; the conclusion said it all, a sad downward sagging, under the combination of both physical and nostalgic weight. Read more

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