Secular Sound in a Sacred Space
(© Ken Drew)
As ever, the pealing of the Holy Cross Church bells launches an afternoon of remarkable music.
John Pope is first up, his electronics providing a very non-traditional counterpoint to the sounds from the bell tower, although his featured instrument is the double bass. Alternately bowed and plucked, his solo builds into a thoughtful and interesting piece.
Meanwhile, a good-sized congregation has built. For a moment, I wonder if we have gathered in a few folk hoping for Evensong. If so, they will be surprised.
Christian Alderson appears, at a small percussion kit, creating subtle bowed and brushed sounds. Sally Pilkington materialises at the piano, with sparse, lonely notes contributing to a quiet and mysterious mood.
Pope departs and Alderson and Pilkington proceed as a duo. Christian drifts to his main kit, while Sally moves to the church organ. An impressive sound builds, Sally’s voice soaring over the organ chords.
A repeated motif on the organ, punctuated by percussion, introduces Faye MacCalman, on tenor sax. She plays happily amid the sounds now swirling around the church, strolling from one end to the other.
The audience has also gradually warmed to the idea of not having to sit still and most are on their feet, following the action.
Faye is now playing solo, underneath the bell tower, deploying vocals and electronics alongside her sax and clarinet.
Chris Bartholomew has ascended the pulpit to co-ordinate improvising musicians scattered around the church, then MacCalman, Pope and Alderson open up a new conversation, from various parts of the building, and we’re off on another roll.
The organ swells again – a beautiful, sustained sound that fills the Church and surely must move all who hear and feel it – then fades to a close. Geoff Fimister
(A version of this review appears in TQ zine)
No comments :
Post a Comment