Tim Benjamin, Birtwistle, Crumb and Adès: Robert Ogden (countertenor), Radius, Purcell Room,  London 25.5.2008 (CR)


This was a well balanced programme of new works for chamber ensemble, ably performed by Radius in which was most looking forward to the performance of George Crumb’s Eleven Echoes of Autumn. Composed in spring 1966, the work is formed of eleven sections which follow on continuously from one to another, and is scored for alto flute, clarinet, violin and piano. With the stage illuminated in a soft light, this was an atmospheric rendition from beginning to end. There was some particularly wonderful playing from violinist Alexandra Wood (including an extremely impressive passage of perfectly in tune whistling and playing) and pianist John Reid.  The flute and clarinet were required to play certain passages into the piano to use the instrument’s resonance; here, the clarinet was highly successful, with powerful resonances creating a magical effect, although the flute did not seem to get far enough into the piano to allow the technique to work in the same way. This is a theatrical and dramatic piece, which draws the listener in. As one audience member said, it makes you feel that you have to listen actively, in case you miss something.  This was a gripping and emotive performance which lived up to my expectations.

The programme contained two works by Radius’s founder and director, Tim Benjamin. A Guess-me-knot, replacing a work by co-founder Ian Vine, was a well constructed quartet for flute, bass clarinet, violin and cello. Taking a three note motif as a basis, the music formed a maze of interweaving lines which combined with, and contrasted each other with much success. Pairs were formed between flute and bass clarinet, and violin and cello, featuring high string harmonics, rhythmic unisons and an excellent use of repetition to unify the work. There was an first-rate sense of ensemble (although there were some moments of minor intonational discomfort between the winds) and Benjamin used the forces available to full effect.

The Rosenhan Experiment is a music theatre work for countertenor and piano, which tells the story of an experiment conducted by David Rosenhan in 1972, into the validity and reliability of  psychiatric diagnosis.

[See, Rosenhan's "On being sane in insane places", reported in the journal Science. Incorrect diagnoses of mental illness occurred frequently when healthy volunteers simulated auditory hallucinations briefly but offered no other psychiatric symptoms. After the volunteers were admitted to mental hospitals as suffering from schizophrenia, staff in the institutions involved were unable to distinguish them from genuine sufferers and also  falsely assessed some genuine patients as impostors.  Ed] 

The scene is set by ominous and sombre repeated piano notes, interspersed with lush harmonic chords, which had a sense of being emotionally charged. As the narrator asks “can the sane be distinguished from the insane?” the tone is distinctly dark. Benjamin uses one singer as both doctor and patient, narrating the part of the doctor and singing the patient's role. The contrast between the spoken voice and the high pitch of the countertenor’s sung range further accentuates the difference, while providing an underlying sense that all is not well; in this strange psychological world, deeper meanings prevail, and the parallels with the schizophrenic diagnosis were strong. One small grumble; Robert Ogden’s diction was not as clear when singing as when speaking (perhaps as would be expected), and as a result of the constant changes from one to the other, it was sometimes hard to follow the sung text (it should be said that the libretto was provided for the audience, but the lighting in the hall meant that it could not be read during the performance).

Otherwise, though, this was an excellent work, performed convincingly. The stage action was simple and effective, and the acting was good, maintaining the flow in what was essentially a static scenario. Mention should also be made of the brilliant piano writing; John Reid played continuously throughout the work’s substantial duration, at times the centre of the musical attention and at other times blending gently into the background of the action. This is an fine work, full of impact, which deserves future performances. Benjamin handles the subject matter with intelligent consideration, raising probing questions about the treatment of the mentally ill. There is just the right balance of humour to offset the seriousness of the subject matter, without a hint of becoming flippant. This was a memorable performance, which appealed musically, dramatically and intellectually – look out for more performances.

The remaining two works in the programme were Birtwistle’s Lied and Adès’s Catch.  For me, the least successful of these from a compositional perspective was the Birtwistle, which seemed a little disjointed despite both players giving a musical and at times poetic performance, which reached far beyond the technical. This was an assured presentation, with excellent communication between the players. Adès’ Catch is a humour-filled work which featured Charys Green, Radius’s clarinet player, in a highly accomplished performance.  Complete with quotes from nursery rhymes, the players of the ensemble are required to entice the errant clarinettist (who plays from around the hall, as well as crossing the stage several times) to join them. With some excellent instrumental effects (including some wonderful cello pizzicato on the ‘wrong’ side of the bridge), this was the final work in an outstanding concert.

Carla Rees


Back to Top                                                    Cumulative Index Page