An Evening of Pure Joy
Abel Selaocoe is more than a cellist. He’s a pioneer – someone who doesn’t just perform music but reshapes the very idea of what classical music can be. His Four Spirits Cello Concerto is a testament to that. Rooted in his South African heritage, the piece moves through different spiritual states owing to his upbringing – blending classical traditions with improvisation, rhythm, and his extraordinary vocal techniques.
Even before the very first notes, Selaocoe invited the audience into something beyond performance – communion. His connection with the Aurora Orchestra was electric. They weren’t just accompanying him; they were inside the music with him, responding to every phrase, every nuance. It was so joyful to see an orchestra feeling, smiling and singing together. And alongside them, percussionist Bernhard Schimpelsberger was completely in sync. Their partnership was seamless and we held a magical shared energy.
It’s no surprise that Four Spirits has been making waves since its premiere with the BBC Scottish Symphony Orchestra two years ago. The Aurora Orchestra just took it on tour to Germany and Belgium, with a sold-out stop at the Elbphilharmonie in Hamburg. Selaocoe brings a kind of emotional honesty to the stage that is impossible to resist. You don’t often see classical music crowds break free of their usual composure, but by the end, people were on their feet – singing, crying, clapping, completely swept away.
Afterwards, the Aurora Orchestra launched into Beethoven’s Seventh Symphony, played from memory, and with equal joy and connection. Nicholas Collon conducted with a lightness that allowed the vitality of the music to shine through. With every movement, the orchestra’s tight coordination and expressive energy radiated. The encore, in which the members of the orchestra came flooding the audience, created such an intimate experience. I was lucky to hear clarinettist Peter Sparks’ gorgeous sonority up close. It was a beautiful, unexpected moment that made the performance feel even more special and connected.
My only question is of the order of the programme – after the emotional release of Four Spirits, it felt right to let that moment linger, allowing the audience to carry that energy with them as they walked home, still immersed in the emotion Selaocoe had shared with us. Instead, the Beethoven, though brilliantly executed, felt like a bright burst of beauty that didn’t quite resonate with the depth of what had come before. Abel Selaocoe’s masterful concerto deserved to be the final note we took with us.