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| Edinburgh : A&E : Festivals : Fringe reviews |
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Rating Guide None = Unmissable 
= UnwatchablePage number refers to the Fringe programme Scottish Chamber Orchestra In The Park (Page 115) Arts For Life Festival Drams Performance 0; Venue 3 Music Beethoven: Symphony No.7; Mendelssohn: Violin concerto in E minor; Sir Peter Maxwell Davies: An Orkney wedding, with sunrise Musicians Nicola Benedetti (violin); Major Iain MacDonald (bagpipes); Scottish Chamber Orchestra, Christopher Austin (Conductor) Venue Ross Theatre (Venue 52) Address Princes Street Gardens (West) Reviewer Nick Scott
It is debatable as to whether or not this venue is really suitable for performances of serious music. True, the "Fireworks Concert" is held there; but on that occasion, the music takes second place to the fireworks. Of course, one does not go to this sort of venue expecting a "concert-hall" like atmosphere. However, was there any real necessity at a "classical" concert, to broadcast Scottish dance music and suchlike, before the concert and again during the interval? Neither did the Ross Theatre look inviting with its unsightly mesh fabric draped over scaffolding surrounding the arena - the purpose of which, I presume, was to prevent the general public from looking in. One understands the need for security in this day and age; but was there any real necessity for a member of the security staff to inscribe his initials on the back of one's hand on entering - given the fact that this was a ticketed event? With all the ambient "distractions" going on (both audible and otherwise), it couldn't have been easy for the musicians to play under these conditions; but with Conductor Christopher Austin, the SCO rose above the occasion and gave us a thoroughly enjoyable and spirited performance. It was an unashamedly popular programme - the choice of repertoire understandable, given that a large section of the audience, in all probability, were not seasoned concert-goers. The evening began with Beethoven's Symphony No.7. It took a while to get used to the fact that one was not in a concert-hall and therefore some of the composer's delicate pianissimi were lost; and the contrast of the sudden hush from fortissimo to pianissimo, as in the Vivace, lost its impact. This was no fault of the musicians however, who were loyal to the score throughout. In all, it was a spirited performance which delighted the audience - especially during the "rustic" dance-like figures of the Vivace and the fun-packed Allegro con brio, when much foot-tapping was in evidence. But undoubtedly, the highlight of the evening was Mendelssohn's Violin Concerto in E minor with soloist Nicola Benedetti the recent winner of the BBC Young Musician of the Year competition. This talented lass gave a breathtaking performance - at times stirring the senses, as in the highly emotive theme of the Allegro molto appassionato, the calm and reflective Andante and the excitingly fiery Allegro Molto Vivace. One must note the masterly excellence of the middle section of the Andante with its extensive use of double stopping. In all, a wonderful performance - endorsed by the volume of applause (which surpassed the other items in the programme), with many members of the audience giving Ms Benedetti a standing ovation! The programme ended with Sir Peter Maxwell Davies' An Orkney Wedding, with Sunrise. Davies describes his composition as "a picture-postcard recording of a wedding on Hoy". During the course of this fourteen minute composition, we "eavesdrop" on the proceedings. The work is "divided" into six sections - the arrival of the guests during stormy weather, the wedding procession, the celebrations - complete with the tuning up of the band and a dance that becomes increasingly inebriated! The work ends with the walk home in the early hours and the sunrise (represented by a solo piper). This spirited and witty composition is made all the more enjoyable by the composer's inventive use of "instrumental" effects combined with skilful orchestration. I fear, however, that much of what was "going-on" was lost on the audience; and therefore, a short programme note (or, at least, a listing of the six sections) would have been a good idea. Smiles from a delighted audience greeted Pipe Major Iain Macdonald as he made his entrance from the back of the platform to perform the "finale" - the bagpipe solo (with orchestra) which depicts the Orkney sunrise. © Nick Scott 7th August 2004. Published on www.edinburghguide.com
Scenes of childhood (page 114) St Andrew's & St George's at Festival Time Drams Music Mozart: Minuet in F; Schumann: Album for the Young, Op.68-The merry peasant; Sicilienne; The reaper's song; Bartok: For Children, Volume II-Wedding song; Sorrow; Round dance; Schumann: Kinderscenen Op.15; Leighton: Pieces for Angela, Op.47 1. Clockwork doll 2. The swan 3. Little minx 4. Cradle song 5. A sad folk song 6. Leap-frog 7. Lament 8. Final fanfare; Debussy: Children's Corner Suite Musician Leon Coates (piano) Venue St Andrew's & St George's Church (Venue 111) Address George Street Reviewer Charlie Napier
The programme started with the little minuet, reputedly written by W A Mozart in his sixth year, although it is suggested that it was done with the help of his father. This, together with the three Schumann pieces, must have brought memories flooding back to all those in the audience who can play the piano. They were almost obligatory pieces to learn for every child who took piano lessons. I know that they brought back memories for me. These are relatively simple pieces, but Leon still treated them with the respect that they deserved. It would have been to easy to make some sort of fun of them. These were followed by three pieces of a much more modern and progressive nature. They were from the group of Bartok pieces For Children both to play and to appreciate. Two of Bartok's great passions were collecting folk music and teaching piano playing. He combined these in For Children by basing the pieces on his collected folk songs, which must sound strange to some children's ears at first, with their dissonances and odd harmonies. However, they are not too difficult to play and do provide a way into 20th century music and harmonies for a young person starting out on a musical journey. They are perhaps not too familiar to players of my generation, but I am sure that they are to those a bit younger. It is not often one has the opportunity to hear any of them in recital, so it was very pleasant and enjoyable. We returned to Schumann for the next group, Kinderscenen (Scenes of Childhood), which gave the title to this recital and were his experiences of childhood as he remembered it in his maturity. Most of the pieces are well known, particularly Dreaming and The Poet Speaks. It was another treat to hear the the complete Kinderscenen, which is now infrequently played. Although not specifically written for children to play, most of the pieces are within their capabilites. Although they were played with sensitivity and feeling, I just felt that there was a little spark missing. This was followed by a group of pieces written by a colleague of Leon's at Edinburgh University, the late Kenneth Leighton. Pieces for Angela were written for the composer's daughter, probably to play as well as to listen to, just like the Debussy that followed. Kenneth Leighton was one of this country's most distinguished composers and was also a fine pianist. Quite a few parallels could be drawn between these pieces and those of the preceding Schumann, especially in the way the music depicted the titles. There was also a comparison to be drawn between these pieces and the Bartok pieces. Harmonically and texturally there were many similarities. Leon's interpretation was delightful and must have brought pleasure to Mrs Leighton, who was in the audience. The recital finished with probably the best-known sets of piano pieces written for children. Debussy dedicated the Children's Corner Suite to his daughter with the following inscription: "To my darling little Chouchou (Cabbage), with loving apologies for what follows." And what followed were some of the most beautiful pictures in sound that illustrated the title of each piece. I do not know if Chouchou ever played them, because they are not all that easy, but Leon had no difficulty in painting the pictures today. One could just picture the pupil climbing the ladder of hard work to Mount Parnassus; the baby elephant being nursed to sleep, the puppet dancing on the end of the strings; the snowflakes floating and swirling down; the little shepherd playing his flute as he watched his sheep on the sunny hillside; and the golliwogs doing their dances to try to win their cake. A lovely ending to a delightful recital on what was, at last, a sunny Edinburgh Saturday lunchtime. © Charlie Napier. 11 August 2004. Published on www.edinburghguide.com
Shooglenifty (page 115) Drams 0 No time for any Music A basis of Scottish folk interleaved and fused with an inventive country rock Musicians Angus Grant (electric fiddle), James Mackintosh (drums) Quee Macarthur (bass guitar), Luke Plumb (mandolin/banjo), Gary Finlayson (banjo/banjax), Malcolm Crosbie (acoustic/electric guitars) Venue The Famous Spiegeltent Address George Square Gardens Reviewer Julian Davis – Thurs 12 Aug How do you review a Shooglenifty session? A little over an hour of non stop music to divert those fortunate enough to fill the Spiegeltent from the dreich summer evening. It may have been a little more easy paced but a late start meant that Angus (nice hat!) cut out the witty banter and laid on an almost non stop barrage of tunes which kept those more energetic than myself dancing away in a frenzy at the foot of the stage – it stopped the crush at the back from a very packed venue which was very encouraging both to the organisers and the band.
For a ten year career span, the legacy of some five albums starting with the BBC Scotland Album of the Year award-winning 1994 Venus in Tweeds up to the aforementioned The Arms Dealer’s Daughter recorded at Bleep and Booster’s here in Edinburgh last year seems a little Spartan. However, for those of you fortunate enough to have seen the band in action, there can be no doubt that they are so much at home in front of a live audience, cajoling and encouraging them into a frenzy as they weave their magic blend of traditional Scottish music of jigs and reels with more modern rockier dance tunes. If you want something more from the Fringe than sitting watching a presentation then get down to the Spiegeltent – take your dancing shoes with you – and there is a bar on hand to revive those tired limbs! The last words I’ll leave to Angus – “Ban the bomb, stop the war, love your mum – and don’t forget to give her a call sometime!” Shoogle-on… © Julian Davis, 13 August. Published on www.edinburghguide.com Run: 12-13, 19-20, 24-25 August
Sophistifunk (page 116) Drams - and a half!Music Frank Loesser DJ John Hutchison Venue City Nightclub (venue 90) Address 1a Market Street Reviewer Shona Brodie
Edinburgh is unfortunately not blessed with many good nightclubs and this relatively
new venue to the city is a welcomed addition. If you can’t make it down
early then be prepared to wait, or to fight your way through a massive queue,
before heading up the long dramatic corridor to the first level bar, cloakrooms
and some cosy alcove seating.
Being over 25 my friends and I felt slightly out of place and it didn’t quite live up to the ‘Sophisti’ in the name, but there was no arguing it was popular, and definitely a good place to dance - DJ John Hutchison (the regular Saturday night Sophistifunk DJ) playing a lively mix, building up the crowd and keeping them on the dance floor.
© Shona Brodie 16th August 2004. Published on www.edinburghguide.co.uk. See also www.citypeople.info Run 7, 14, 21 & 28 August 2004
Songs of Jacques Brel (page 116) Drams Music Songs of Jacques Brel Performers Micheline Van Hautem; Frederik Caelen (accordion and piano); Peter Swales (musical saws) Venue Assembly @ St George's West Address 58 Shandwick Place Reviewer Iain Gilmour
Micheline Van Hautem is in danger of becoming a fixture on the Fringe, drawing
near-capacity audiences for the third time to join her personal voyage through
the repertoire of the Belgian singer Jacques Brel.
After a final hissing exchange with her accompanist, accordionist Frederik
Caelen, Micheline burst straight into a powerful version of the Brel classic
Le diable (Ça va) that set the tone and tempo for much of the
performance. Raw emotions -- passion, desolation, tenderness, love, nostalgia and sadness
-- hit the listener in rapid succession, with an underlying thread of foreboding.
Soweto Gospel Choir (page 116) Drams 0 Music Oluwa; Thina Simngobile; Joko Yahao; Thapelo; Masigye' bo; Asimbonanga/Biko; Paradise Road; Avulekile Masango/One Love; Lelilungelo Ngelakho; Mbube; Dance and Drumming Segment; Click Song; Khumbaya; Thula Mama; Noyana; Tshepa Thapelo; Swing Down; Nkosi Sikelel'iAfrica; Holy City/Bayete Musicians David Mulovhedzi (Musical Director/Choir Master); Lucas Deon Bok (Asst. Choir Master/Musical Director - Bass Guitar/Tenor); And, sadly, far too many wonderful musicians to name in detail Venue Assembly @ St George's West Address Shandwick Place Reviewer Nick Scott
After the opening number, Oluwa, we were introduced to the first main section of the programme - a selection of songs expounding the message of "Peace and Happiness". The struggle of the South African people in gaining independence after many years of oppression, was reflected in the next part of the programme. An interlude featuring a highly-charged mix of dance and drumming, heralded the final part of the concert - a look to the future with pride and optimism. For the penultimate item in the programme, the Choir gave a passionate rendition of the South African National Anthem; followed by a performance of The Holy City as you've never heard it before - presented in their inimitable style.
Since its inception on 2002, Soweto Gospel Choir has gained worldwide recognition. Their appeal is infectious; and the Choir's message is one of hope and joy to everyone who loves music - irrespective of race, nationality or religion. A highly-charged, dazzling kaleidoscope of colour, hypnotic rhythm, spectacular dance and magnificent singing - guaranteed to uplift the most cynical heart. © Nick Scott 15th August 2004 Run: 6 - 30 August (19.30); 14; 20 - 21; Extra performance: Monday 23 Aug at 12 noon; 27 - 28 August (noon)
The Sinatra years (page 115)
It was billed as the Sinatra years but how can you possibly hope to
cover the 1,700 songs that Sinatra recorded? If anyone could do justice to Ol'
Blue Eyes, Todd Gordon could and a large and enthusiastic audience gathered
in the Queen's Hall to relive the Sinatra legend along with him.
As numbers like Fly me to the moon, When I was seventeen, a superb Curse
of an aching heart which ended with a couple of minutes of Blueberry
Hill, segueing into The second time around, the whole audience was
Nice n' easy, swinging along to Alan Barnes' glorious sax solos, handing
over to lovely piano arrangements. But always expect the unexpected from Todd Gordon. He had one of his surprises
for us. He paid an elegant compliment to two singers who have encouraged and
supported him from the start: Carol Kidd and Barbara Morrison, the great American
jazz singer - and then brought Barbara on stage for a duet! They sang They
can't take that away from me calling each other Frank and Ella! After she
left the stage it was a spirited rendition of Mack the knife and a heartfelt
encore Something good which could almost be a mantra for him.
Scottish Guitar Quartet (Page 115) Roots @ The Reid Series Drams 0 Musicians Ged Brockie; Nigel Clark; Malcolm MacFarlane; Kevin MacKenzie Venue The Reid Hall (Venue 201) Address Reid Quad, Bristo Square Reviewer Nick Scott
Having been in existence for nearly five years, The Scottish Guitar Quartet embraces a wide diversity of styles which encompasses Celtic, modern, classical, jazz and world music - earning them widespread recognition as leaders in the field of contemporary guitar music. And one can understand why. As individuals, their musical achievements are impressive; therefore, it comes as no surprise that when they combine their virtuosic talents, the result is something not only unique, but truly magical. During a programme lasting just over an hour, the foursome 'wowed' their large audience with an energetic mixture of contrasting styles - from lively jazz and fiery rhythms to 'easy listening' numbers of a more relaxed nature. With stunning tone-colouring and compelling harmonies, their refreshingly original sound creates new dimensions, as the quartet explore every facet of the instrument's potential - from its delicate nuances to its emotional fervour. The ardour of their audience (comprised mainly, I suspect, of guitar aficionados) was apparent from the standing ovation and the enthusiastic cheers and applause that greeted the musicians at the close of the concert. Absolutely brilliant. The Scottish Guitar Quartet sparkles with dazzling virtuosity. © Nick Scott 28th August 2004. Published on www.edinburghguide.com
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