A wonderful collection of imaginative stories that demonstrate how human creativity knows no halt

As I read the program, I was initially perplexed by the diverse set list put together by Manchester Collective. It was difficult for me to discern the connection between a Wood Thrush, trains, and artificial intelligence. However, by the end of the night, I came to realise that, just as there are infinite paths to take when travelling by train, the human experience knows no bounds.

I was thoroughly impressed by Cassandra Miller’s “Warblework”. The piece began with a powerful suite of emotions and closed in a completely different range, showcasing the musical ferocity of the composer. The short musical poems presented an impressive range of feelings, including pain, hope, and happiness.

“Adagio for Strings”, the Harry Styles of One Direction for the work of Samuel Barber was, as expected, very melodic and evoked a sense of mourning. It was cathartic, and passionate and emphasized experiencing profound emotions.

During the concert, I witnessed Jasmin Kent Rodgman’s “four-person simulation”, which was a captivating piece of work. The piece explored the interaction between humans and machines, and it began with a deep question – “What is your first memory?”. As the performance progressed, the audience was introduced to the uncanny valley of responses, which became better and better, and the examination became increasingly profound. Inquieries such as “Do you have feelings?”, “How do you express them?”, and “How do you start?” were asked, showcasing the complexity and intensity of human expression. By seeing this twisted mirror of the human mind, I was able to internalise (again) how artificial intelligence is modelled based on human inputs. The data recovery segment of the performance was in tune with how people process emotions, which is chaotic, raw, and fascinating and the autotune and use of pedals harmonised brilliantly with the voices of the musicians and the instruments.

The highlight of the evening was the performance of “Different Trains”, which wonderfully showcased the vibrant and colourful energy of trains, which bears a striking resemblance to the pitch and rhythm of human speech. The pre-recorded tracks produced a plethora of melodic yet repetitive harmonies, which were complemented by the live musical instruments, creating a harmonious cacophony with a strong sense of rhythm. The use of external sounds (snippets of speech melody, harsh train whistles, rattling carriages) was surprising at first but then made me seriously question why is it common for music played in concert halls to be limited to traditional instruments?

The concert concluded with Hans Abrahamsen’s ’10 Preludes’, which served as a summary of ten different sensations of hope, change and new directions.

Manchester Collective delivered an intimate, surprising exploration of the human experience, fulfilling their promise to the Mancunian public with the talent of their quartet.