MAGNETAR

I've only just got home for the Easter frivolities and I have already been treated to two fabulous concerts at Symphony Hall.

On Sunday we drove back to the Midlands, dodging snow drifts on the way, and managed to arrive in time to catch Classics for Spring, a concert dedicated to popular and well-known pieces. As the title and beautiful programme suggest, this whole afternoon was meant to celebrate the beginning of spring - the froliking lambs, beautiful flows and cheepy chicks - however, as the conductor put it, the orchestra had had a "bloody nightmare" of a journey. As a result, these classics were somewhat less-than-perfect in their execution but a good time was still had by all. I say by all - I was left fuming at the end of the Lark Ascending. How can people think its okay to A) bring a screaming baby in B) have a phone call C) cough their guts up repeatedly or D) leave early in clonky high heeled shoes...???

Tonights concert inspired feelings of dread and curiosity from the second I opened the programme. Every time I see the word Premiere I know that we are in for a treat/a car-crash. However, as I have recently had my mind opened to "New Music" by the Bangor New Music Festival I was actually rather excited.

The concert, entitled Cosmic Dances opened with a work that I hadn't heard of before. Jose Pablo Moncayo's Huapango had the audience jigging in their seats. It reminded me of the exuberant cross-rhythms and dance atmosphere heard in Ginastera's Estancia Dances. It must be something to do with South America. The final work, and to be honest the reason that we were all there, was Prokofiev's famous Romeo and Juliet suite, or rather a mixture of all three of them. The orchestra were fabulous and we were swept along in a blaze of emotion - joy and sorrow, passion, love and death. Stunning!

I said that the programme inspired feelings of dread and curiosity...well, one look at the stage brought these to the fore. I have to admit, I have never seen a Macbook Pro at centre stage before but suprisingly, Enrico Chapela's MAGNETAR - a concerto for electric cello and orchestra - was wonderful.

The composer gleaned his idea from the workings of his solo instrument. The electric cello works through use of electromagnetic currents that can be manipulated - much as the composer himself manipulates the cello's sounds throughout the work. From this Chapela literally aimed for the stars and has based the work on the largest possible magnet known to man - rare pulsars in our universe known as MAGNETARS. The music effortlessly reflects this inspiration. The first of the three movements is a sort of pallindrome - the movement opens and closes in the same way thus creating a cyclic structure. The work opens with what Chapela describes as 'cosmic noise' - the solo cello rubbing the wood of his bow across the strings whilst the orchestra used their hands and feet to create other waves of sound. An effect that is mirrored later.

Aside from the influence of Magnetars, Chapela obviously draws on many other sources of inspiration. Jazz elements and features of metal/rock and roll are evident in many of the movements. The second, ethereal section sees a wonderful jazz-esque cadenza whilst the third 'brutal' movement sees a heavily distorted cello sound and distinctively rhythmic orchestra simulating popular metal music. For me, the second movement (in which the cello appears to be in space) reminded me, unfortunately so, of the clangers talking to each other in some moments.

All in all, my fears of "modern" music have again been quashed by Chapela and his electric cello. From this, and the BNMF, I have learnt not to doubt or question the new/unknown. Instead - I'm going to dive in headfirst!