Festival Music

CBSO

Usher Hall, Edinburgh

Stephanie Humphreys

five stars

IT IS safe to say that Friday night’s concert was a success for the Edinburgh International Festival, with a cleverly put-together programme and a full audience. 

The evening started with Stravinsky’s Funeral Song. Written in 1908, the score was lost for over a century, leading to an excited anticipation about hearing this rarely played piece. The orchestra certainly delivered, each instrument playing its part in saying goodbye to an old mentor and friend as Stravinsky intended. It was atmospheric from start to finish, with haunting melodies and the orchestra coming together impeccably to portray the grief within the music. 

This was followed by Elgar’s famous Cello Concerto, the highlight of the evening, played by Sheku Kanneh-Mason. The performance was confident, assured and passionate. The slow, soulful movements contrasted with the light and virtuosic ones beautifully, with hints of nostalgia and reflection coming through. The performance was greeted by cheers, whistles and a huge round of applause, and Sheku even came back on to play a short, unaccompanied encore, further displaying his talent and passion.

The final piece of the evening was Daphnis and Chloé by Ravel. With breath-taking use of choir and full orchestra, to sweeping lyrical melodies, it could only be described as magical. The dynamic contrast and rapid changes in colour told the ballet’s story of nymphs, pirates and love perfectly. Despite brief moments where the orchestra weren’t quite together, this work provided a magical end to an outstanding concert.

Stephanie Humphreys is a pupil at Broughton High School and this review was submitted as part of The Herald Young Critics Project with the Edinburgh International Festival, as were those below.

Classical Music

CBSO

Usher Hall

Ethan Gillespie

Four stars

A SOLD-OUT Usher Hall eagerly awaited the International Festival debut of global cello superstar and Royal Wedding performer, Shaku Kanneh-Mason, and the reunion of Ludovic Morlot with the famed City of Birmingham Symphony Orchestra.

First, Stravinsky’s recently rediscovered Funeral Song - a patchwork of introspective laments never far from typical Stravinsky experimentation. A hushed shimmer of strings opened the concert as Morlot and the orchestra got their bearings. The performance gained conviction as it progressed and rhythmic tightness was admirable, particularly in the quieter sections.

The evening’s most anticipated performance then followed as 19 year old Kanneh-Mason bounded onto stage in trainers. Elgar’s renowned Cello Concerto opened a little unconvincingly but once Shaku was off, his confidence returned. He effortlessly handed off many melodies to the orchestra and his stylish and passionate finish was met by rapturous applause and cheers from the festival audience. A mesmerised Usher Hall then watched as the young cellist re-emerged to perform a stunning reverie-esque encore as Morlot watched in admiration from behind the celesta.

Post-interval came the highlight of the evening’s programme: Ravel’s Korsakov-inspired Daphnis et Chloé. The audience were transported to far-off lands in this filmic and lush interpretation. The Hollywood-style strings sparkled as the Festival Chorus angelically floated atop the lavish soundscapes. The more climactic moments throughout were rich and full and the orchestra’s superb soloist line up made this a performance to remember. Sublime.
 

Festival Music 

CBSO

Usher Hall

Leon Thomson

four stars 

BBC Young Musician winner in 2016, Sheku Kanneh-Mason, debuted at his first EIF in the Usher Hall performing Elgar’s cello concerto accompanied by the City of Birmingham Symphony Orchestra and conducted by Ludovic Morlot. The CBSO also performed the Scottish premiere of Stravinsky’s “Funeral Song” and closed with the truly spectacular “Daphnis at Chloé” by Ravel.

Stravinsky’s general idea with his Funeral Song was that “all the soloists of the orchestra each laid down their own melody in quick succession”. Well, a success it was, and a very refined orchestra they are to make one instrument blend into another so well, forming a seamless, soaring melody between the musicians.

Elgar’s cello concerto is a very respectable work, however, it lacked that “wow-factor” perhaps expectable from a performance from a cellist so highly-acclaimed, however, Mason did perform with great passion and immense musicality.

Daphnis et Chloé, on the other hand demonstrated an orchestral virtuosity unlike any I’d ever heard. The countless colours that Ravel has chosen to paint with in this piece left me in a suspenseful yet calming void somewhere amidst reality and a fantastical utopia in which he takes you. The conductor and orchestra have cooperated well to ensure that no colour goes astray and extremely attentive work has been done on the dynamics in particular to ensure that Ravel’s intended moods were effectively conveyed 

Given the chance, I would definitely grab it to see more phenomenal orchestra works by French composers such as Ravel but wouldn’t rush to see another Kanneh-Mason performance.
 

Festival Music

CBSO

Usher Hall

Patrycja Malysz

four stars

FRIDAY’S concert, by the City of Birmingham Symphony Orchestra with an amazing cellist- Sheku Kanneh-Mason, definitely was one of the very good concerts. I've never thought that someday I'll want to cry at the concert, but that happened.

As an opening, the orchestra played an awesome piece by Igor Stravinsky called 'Funeral Song Op 5' which was the Scottish premiere. The piece introduced as to the sad mood in which we were to an interval.

For a second piece, the orchestra played Elgar's 'Cello Concerto in E minor Op 85'. As a soloist was a British cellist Sheku Kanneh-Mason, which in 2016 won BBC Young Musician competition. The whole piece was outstanding and awesome modulation helped to imagine the youthful ( probably because of Sheku, which narrated the whole story so good) love with many problems and obstacles.

For the finale, the orchestra with choir played Ravel's 'Daphnis et Chloe'. The piece finished the whole sad story with the happy end. Sadly, that piece was a bit too long and it started to be boring. 

Overall, the concert was very good. There were the awesome orchestra, amazing young cellist plus talented choir. If you ever have an opportunity to go to the same concert, I recommend you that. 

And probably you'll see me there too.
 

Festival Music 

CBSO

Usher Hall

David Watson

four stars

THE CITY of Birmingham Symphony Orchestra, with Ludovic Morlot as their conductor, started their performance tonight with Stravinsky’s Funeral Song, Op. 5. The piece begins with tremolos from the strings, which creates an atmospheric setting. This passage becomes progressively louder and culminates in a fanfare played by the trombones and trumpets. The piece continues with a major section, which creates a completely different mood. It then ends with a section that is similar to the first and fades away to nothing. This was played sensitively by the orchestra and was a joy to listen to.

The next piece introduced the soloist Sheku Kanneh-Mason, a fantastic young player, who delivered a magnificent rendition of Elgar’s Cello Concerto in E minor, Op. 85. He demonstrated amazing control over the tremolos and high register, and his tone quality was spectacular. He finished the first half with a rather unnecessary encore, during which he suffered from a number of intonation issues. Overall, however, he gave a fantastic performance.

The concert piece was Ravel’s Daphnis et Chloe. This was played and sung with exceptional skill by the orchestra and choir. In fact, this was the highlight of the concert for me. If you thought that Mars from Holst’s Planet Suite was dramatic, just wait until you hear this. The ending of the piece was played particularly well, with the crescendos from the orchestra and choir building and building to reach the final chord, which created a spectacular effect.
 

Festival Music

CBSO 

Usher Hall

Chiara Lordi

four stars

MESMERISING. People don’t know that music is magic. If you attended yesterday evening’s performance you can now say that magic exists because you felt it, heard it throughout the music.

Three years ago parts of The Funeral Song by Igor Stravinsky were rediscovered and so they took the opportunity of the Edinburgh Festival to have the Scottish Premiere. It was performed by the outstanding CBSO conducted by Ludovic Morlot. As soon as they played the first note the hall became silent. Every musician was telling us a story throughout the most beautiful form of art which created a lump in your throat. The rich melodies tugged at your heartstrings. 

We were lost in the music as Sheku Kanneh-Mason took us on a journey with him. Even though a whole orchestra was accompanying him you could only see Sheku, he was one with his cello and every note he played, every rest he took the audience was with him, holding their breath. His performance was pure, casting us under his spell making his interpretation impeccable. You could see he was in love with music making us fall in love too.

As the Edinburgh Festival Chorus and the CBSO gradually got louder throughout the piece you could feel the vibration through your whole body and your heart beating in time with the music. The acoustics helped the hypnotising sound of the chorus and the orchestra fill the hall with powerful melodies making the audience live what I call, magic. 
 

Classical Music

CBSO

Usher Hall

Elianna Proud

four stars

IN THE heart of Edinburgh’s International Festival, beneath the ornate ceiling of the Usher hall, was seated the City of Birmingham Symphony Orchestra and an audience, hushed in anticipation for what would be an excellent concert.

The Scottish premiere of Stravinsky’s Funeral Song had us on the edge of our seats. The atmospheric opening lines of the piece almost seemed to hint at its mysterious story of disappearance and discovery. Creeping and flowing, the acclaimed conductor Ludovic Morlot held both audience and orchestra, mesmerised, at the end of his baton.

Then came the young star for Elgar’s Cello Concerto in E minor: Sheku Kanneh-Mason. Winner of the 2016 BBC Young Musician Competition, and incredible cellist, his presence in the programme drew pockets of younger listeners into the mostly aged audience. His passion and emotion poured out into the lyrical melody, and even escaped in a small cry after a particularly captivating ascent. After the first movement Sheku mopped his brow. The audience chuckled.

His encore was magical. 

The final item of the programme was Daphnis et Chloe from Ravel’s ballet. Joined by the Edinburgh Festival Chorus, the large orchestra now sprawled impressively across the grand stage. The performance began with the haunting sound of choral voices, but soon increased to such volume that I could feel the vibrations run through my fingers into my hands. A powerful composition.

I am in no doubt, that each of the 2200 audience, were moved at some point during this entrancing and liberating performance.

Festival Music

CBSO

Usher Hall

Keara Koterwas

three stars

A BUZZ amongst the audience: warm, expecting. On comes the re-acclaimed and sophisticated City of Birmingham Symphony Orchestra.

Brisk applause precludes this Scottish premiere of Stravinsky’s Funeral Song, recently discovered. An atmospheric opening with a familiar and enveloping sound; a professional orchestra. Stravinsky would have been proud.

Next, a homage to Elgar, who conducted the orchestra in 1920, with his Cello Concerto in E minor starring Young Musician of the Year, Sheku Kanneh-Mason. A communal chuckle as Mason wipes his forehead. Amongst a backdrop of delicate pizzicato and a Timpani played with relish, Mason glides over the strings with ease and emotion in all the right places. You could nearly hear the jaws hit the floor. This is followed by an intimate solo encore.

Then, Ravel’s music to the ballet Daphnis et Chloe featuring the Edinburgh Festival Chorus. Intense, ethereal, cinematic.

The Orchestra do the pieces more than justice but do the pieces highlight the ability of the players?

Will the “ahh”’s from the Chorus get old? Thirty more minutes and I find myself retreating to my programme. With a fidgeting audience after the first half, shouldn’t the finale be short and sweet? Maybe it was the lack of dancers that made it seem to go on forever. Finally, the ending, triumphant bows raised and a big clap from the thankful audience.

Off we go with a bounce in our step. Luckily the lengthy finish was saved by the cello-extraordinaire, still humming in our ears.