01. October 2008 · Comments Off · Categories: Huh?, Links, News

Well, okay, I have a ton of questions, so I am lying unless I clarify.

I only have one question about the following:

It was all our fault, apparently. It wasn’t the most auspicious start to the Kings Place era and today’s opening events in London’s new concert halls. For most of the first programme this morning – an enterprising lineup of Simon Holt, Jo Kondo, Niccolo Castiglioni and Bela Bartok – the musicians of the Endymion Ensemble had to compete with a percussive counterpoint of offstage hammering. This aleatoric intervention destroyed the delicate soundworld of Kondo’s Birthday Hocket and threatened to derail oboist Melinda Maxwell’s world premiere performance of Simon Holt’s Disparate. A rival chamber music hall trying to sabotage the opening gig? A gesture of anti-classical music protest? Unfortunately nothing so dramatic: instead, it was workmen fitting out the Guardian’s offices – we’re moving in soon, completing Kings Place’s grand fusion of the corporate and the cultural.

At least by the time of Bartok’s Contrasts the workmen had been silenced, but there was an air of genial chaos even before the first concert kicked off at half past nine this morning. In the middle of the public atrium outside the hall, Stephen Stirling played a fanfare for solo horn by Martin Butler, but he had to fight against the noise of 100 metronomes – an automated performance of Ligeti’s Poème Symphonique – as well as the hall’s excited announcer. Still, it’s a symbol of the adventure and enterprise of Kings Place that its first-ever public music-making should be of Ligeti’s mechanical masterpiece.

Can you guess what my question is? C’mon … read it again … think … musician … schedules … how we live ….

Get it yet?

What the heck are they doing having a concert at 9:30 AM?!

What musician in her right mind would be functioning that early, huh? (Yes, I’m awake and it’s 8:28 AM, but I’m still in my robe, doggone it!)

;-)

I read it here.

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