Gig Experience

This blog post is specifically aim for writing reviews for exhibitions and gigs that I find would be worth to mention, implying the forms, topic, concept, philosophy I am currently working on. I hope it is not too messy:)

https://www.royalalberthall.com/tickets/proms/bbc-proms-2023/prom-46-manchester-collective-neon/

The Manchester Collective presents an urban musical world: bright with neon light, tense with uncertainty. 

Steve Reich’s Pulitzer Prize-winning Double Sextet with its motoric rhythms and thick web of counterpoint sits alongside Hannah Peel’s Neon – a fusion of electronic and acoustic elements with the sounds of Tokyo’s Shinjuku Station – and Ben Nobuto’s euphoric sound-collage SERENITY 2.0. The musical prayer of David Lang’s Mystery Sonata No. 7 and Oliver Leith’s ‘slippy arrangement’ of a 17th-century original help slow the pulse again.

Steve Reich Double Sextet 23’ was decent for sure, but I was shock by Hannah Peel Neon 11’ Ben Nobuto SERENITY 2.0 13’.

There were sporadic flashing in Ben’s serenity, with loads of collisions between the classic music and electroacoustic. It is very hard to describe though… It is an opposite taste to Baber’s Adagio for strings by William orbit. It’s not vague and abstract, it is very specific. You could almost hear the future is talking to the classical piece. I am very surprised I have never known Hannah Peel in my life and she is so talented! The live version let me feel like “dreamy fairy tale” and this is definitely what I AM LOOKING FOR, pretty acoustic!

King Stakh’s Wild Hunt is an honorable mention and I do have a strong point in this show. It is fabulous and unique due to its puppetry dimension and its use of Holographic projection. The mixture of contemporary dance, literature, opera is very overwhelming. However, it is too impetuous as a commercial show in barbican centre. It’s like the director is aiming to put lots of things in it, but there isn’t something specific great. The choreography is a bit underwhelming with these amounts of dancers, so do the film behind which I am sure is made of AE and is very drafted. The props are very simple and handcrafted which someone them not really make sense. And one thing was very disappointing was the interval actually acted better with a cellist covering a black cloth and improvised when the chair is spinning with puppets walking on stilts… It’s a very inspiring show with loads of small uncertainties.

I went to Joe Hisaishi’s concert in O2 and it did not stop me crying for the whole show. It’s too spiritually ‘sad’. He is my redemption when I can’t make any music compositions. He is the reason I start to play piano and never stops for 12 years. He is the reason I go for sound arts and never stop dreaming to be a classical composer. I never found his music too melodic and it is like every child has a super hero in her mind. And it is about having a mindset of a kid having/

Then we go to Steven Reich. I am so sure this track is my favourite track on the list. It is incredible, simple, magical and brainwashing. The alpha I went to his gig by Manchester Collective.

We had his track lively: different trains in south bank centre. It was no doubt is a horror track which it is not the initial point from reich. ‘Being Jewish is not written on my body by my skin color, or otherwise undeniably by my appearance. I suppose I look stereotypically Jewish, and my last name sounds it, but I have never had to fend off fear because of my religious identity. But that privilege is just not sufficient anymore. It’s difficult for me to look something so large in the eye. So I’ve been listening.It’s split into three movements, “America – Before the War,” “Europe – During the War,” and “After the War,” and each has an appropriate tenor. It begins and ends with nervousness, the violin and viola’s quick pace echoing the sound of the train wheels rolling. The samples in “Before the War” are about the vast expanse of technology—there’s forward momentum here, a locomotive industry rounding the bend to a new era. A man intones the years: “1939! 1939! 1939! 1940!” And then the sound of another horrible siren undercut by a woman with a heavy European accent. “1940. 1940. 1940. 1940. On my birthday.” We enter the second movement.’