This delightful and immersive concert allowed the audience to experience a variety of musical styles and emotions, from classical to modern, and from joy to sorrow.
The Scottish Chamber Orchestra’s Un:Titled performances are informal, gig-style standing concerts. I particularly enjoyed the atmosphere of this concert. Unlike formal concerts where everyone sits upright in their seats, this concert allowed the audience to stand, drink, and socialize with friends and family while enjoying the music. The setting was warm and relaxing. With the lighting effects creating an immersive and cozy atmosphere, the entire venue felt like a space for musical performances, like a bar or festival, making for a delightful Saturday night. However, the informal style did have some drawbacks, such as audience fatigue from standing too long and potential difficulty in seeing the performers clearly.
The concert featured six pieces, showcasing a wide range of musical styles from classical to pop, traditional and electronic music. The inclusion of live DJ performances and introductions by host Jay Capperauld enhanced the transition between pieces, creating a cohesive experience. The concert focused on showcasing the SoundBox Programme, with its three pieces being the highlights of this evening. These new works by young composers—Emily Scott-Moncrieff’s “She breathes, She becomes”, NAAFI’s “Joyride in your Aura”, and Daniel Abrahams’ “Hope in the Dark”—blend pop and classical music in creative and engaging ways.
“Hope in the Dark” was particularly impressive, with the performers’ harmonious collaboration and the interplay of orchestral and percussive elements – especially the xylophone – evoking a sense of darkness punctuated by hopeful light. “She breathes, She becomes” beautifully conveyed the composer’s reflections on the life and decay of flowers, while “Joyride in your Aura” created a serene and peaceful atmosphere.
The concert also featured works by renowned composers. Connesson’s “Disco Toccata” opened the evening with a powerful performance by the cello and clarinet, combining disco rhythms with Baroque toccata elements to create an energetic and captivating start. Jay Capperauld’s solo flute piece “The Pathos of Broken Things” followed, with its serene but sorrowful melody evoking a sense of being in a quiet forest. However, the performer’s execution seemed lacking, with noticeable breathing sounds and insufficient breath support during high notes. Additionally, this placement, as the second piece, felt somewhat off as it cooled the vibrant atmosphere set by the opening piece.
The concert concluded with excerpts from John Adams’ “John’s Book of Alleged Dances”. Despite its technical demands, the string quartet performed admirably, showcasing good coordination and unity in tone and pitch. Though there were occasional issues with rhythm synchronization, the overall performance was commendable.
This delightful and immersive concert allowed the audience to experience a variety of musical styles and emotions, from classical to modern, and from joy to sorrow. The informal, gig-style setting, enhanced by creative lighting and diverse musical offerings, made for an engaging and enjoyable evening.