Concert going is a social as well as a cultural activity and one of the great pleasures is the after-concert discussion with friends – and occasionally strangers who linger in the auditorium or foyer – keen to share their thoughts on what they’ve just heard. Sometimes a performance can be so profound, moving or thought-provoking that an immediate verbal response may be impossible, as we each privately digest and consider what we have just heard. At other times, the words tumble out eagerly as we rush to share our impressions of the event.
Last week I was back in London for a very special concert at Temple Church, part of a series hosted by Temple Music Foundation featuring pianist Julius Drake and friends. Here was Schubert’s heartrending song cycle Winterreise, a work written the year before he died which has been invested with all kinds of meaning and psychobabble by those who believe this painful narrative is an autobiography of sorts. Austrian mezzo-soprano Angelika Kirschlager was singing this great work for the first time – and for me this was the first time I’d heard a female voice in the role of Schubert’s lonely winter traveller (I’ve now heard the work performed by tenor and baritone voices and also in an excellent English translation). Seated at the back of the church, it took awhile to tune one’s ear into the church’s acoustic, but once settled, it was clear to me that this was a performance of exceptional intensity, drama and emotion. I couldn’t see Kirschlager very easily from my seat, but her projection and commitment to the role was clear, her voice at times rough-edged and richly-hued to bring greater meaning and expression to the text and music.
Repairing afterwards with friends to a cosy pub on the Strand, we discussed what we had just heard over wine and beer (we also discussed the vessel from which my friend Adrian drank – was it a “tankard” or a “glass with a handle”? Such is the way when lively, inquisitive minds meet….!). While I enthused about the intensity and drama of the performance, my companions were rather more guarded, and this provoked a vigorous, but always friendly and considerate discussion. This was not some dry bar-by-bar analysis of the work and its performance, but thoughtful, heartfelt and immediate reactions by people who really care about music and concerts. It proved how meaningful, subjective and, above all, personal our experiences of music are.
It was a real treat to hear such an absorbing gig, then ‘share’ it there and then, as if the evening re-booted into 2 great nights in 1 – Adrian (@adrian_specs)
Never before has a performance led to a spirited, respectful and absorbing conversation. Something that deepened my understanding about a work and a performer – Jon (@thoroughlygood)
As a writer and reviewer, I find such conversations can crystallise or adjust one’s thoughts about a concert, the works performed and the performers, offering valuable reflection or reappraisal ahead of a review or article being written. It’s also a healthy reminder that we do not all like or appreciate the same things – and thank goodness for that, for these differences make the concert-going experience far more rewarding and interesting.
Adrian’s review of the concert at Temple Church will be published on this site shortly.
I was delighted to take part in Jon Jacob’s Thoroughly Good Podcast project with composer Thomas Hewitt Jones (who happens to be one of the first people to feature in my Meet the Artist series). We met in the crypt bar at St John’s Smith Square (one of my favourite music venues in London) to talk about blogging, composing, concert going and more…..