Strong performances shone through a programme that lacked cohesion and depth.
Temporal Harmonies Inc. brought a bold but uneven programme of new music to Wigmore Hall, curated by Zygmund de Somogyi as part of the RPS 2025 Composers Programme. Trio Temporal Harmonies Inc. presented a programme of music written entirely within the ensemble’s lifetime. While the idea promised freshness and relevance, the programming ultimately lacked cohesion and emotional depth. Nevertheless, the concert offered moments of brilliance, particularly through its performers.
The concert began on uncertain footing with the premiere of de Somogyi’s ‘music for the quarter-life crisis (synth étude)’. Designed to reflect the existential malaise of modern youth, the piece unfolded in brash, electronic textures and lyrics that felt more grating than profound. It came across as crude, both in its sound palette and in its somewhat forced concept, though it was boldly performed by Xiaowen Shang. Although it was an audacious opening, it didn’t invite the listener in — rather, it felt like a statement piece that lacked the nuance to truly resonate.
Thankfully, the mood shifted towards Ashkan Layegh’s more nuanced duet, a piece which was beautifully written and performed, and Lowell Liebermann’s Trio No. 2, which gave the trio their first opportunity to demonstrate their remarkable synergy and technical control. The music, rich in gesture and energy, brought a sense of classical continuity to the programme — a welcome contrast after the opener’s stark electronic abstraction.
Then came the undisputed highlight of the afternoon: Caroline Shaw’s ‘In manus tuas’. In this solo cello work, Mikolaj Piszczorowicz gave a performance of rare intimacy and poise. His tone was warm, centered, and expressive, finding both the spiritual stillness and quiet drama embedded in Shaw’s writing. Every phrase felt deeply considered yet effortlessly natural. Piszczorowicz’s ability to balance vulnerability and control was truly remarkable, and this moment alone elevated the entire programme.
Kaija Saariaho’s ‘Mirrors’ followed, its fragile shimmer and glassy textures offering a meditative palette before the final work of the programme was another premiere by de Somogyi: IN THE EVENT THAT YOU STAY: Trio for flute, cello, and piano, no. 1. Unlike the earlier étude, this piece revealed a far more lyrical and refined side of the composer. The trio delivered a thoughtful, often moving performance, drawing out the work’s melodic tenderness and understated drama. It was a satisfying conclusion, offering beauty where the concert began with provocation.
Still, the overall curation felt scattered. The guiding idea — to present works written during the ensemble’s lifetime — was novel, but it wasn’t enough to unify the programme in a meaningful way. The transitions between pieces were often abrupt, and the emotional arc never fully formed. Combined with the concert’s overrunning of the advertised length, the result was an experience that occasionally lost its sense of purpose.
Yet despite these shortcomings, the quality of the playing made the event memorable. With more careful programming, this concept has strong potential. Contemporary music needs champions like this trio, but it also needs context and clarity to connect with its audience. This concert had the right ideas; it just needed a stronger curatorial hand to bring them into focus.