In a stunning display of contemporary musical innovation, the London Symphony Orchestra presented a landmark concert at London's Barbican Hall, showcasing the very best of its LSO Futures programme. The evening was distinguished by three world premieres, featuring the exceptional talents of South Korean pianist Seong-Jin Cho under the baton of conductor Maxime Pascal.
A Trio of World Premieres
This concert exemplified the LSO Futures initiative at its most dynamic, presenting first performances of works by composers Omri Kochavi, Sasha Scott, and Donghoon Shin. Two of these pieces were commissioned by the Helen Hamlyn Panufnik Composers' Scheme, which is currently celebrating its 20th anniversary. The event also formed a key part of Seong-Jin Cho's LSO Artist Portrait series, highlighting his status as one of the most compelling pianists of his generation.
The programme opened with Omri Kochavi's Gilufim, a title derived from the Hebrew word for 'carvings'. This engaging piece evolved from a denser original into a more limber form, where discordant orchestral sections were gradually carved away by the persistent, effervescent rhythms of a marimba. The addition of a nut shaker, evoking the sound of a crackling fire, helped the music emerge with a newfound harmonic solidity.
From Eerie Dreams to a Virtuoso Concerto
Sasha Scott's Sly provided a stark contrast, creating an unsettling soundscape that explored the nebulous border between sleep and consciousness. The composition featured disorienting wodges of sound punctuated by sinister slithering effects and a panicked orchestral nightmare, before a vibraphone's chime triggered a shift into a state of uneasy awareness. Throughout these complex pieces, conductor Maxime Pascal proved an unflappable and assured guide.
The centrepiece of the evening was undoubtedly Donghoon Shin's arresting new Piano Concerto, delivered with breathtaking skill by Seong-Jin Cho. The opening movement displayed a split personality, a direct homage to Robert Schumann's famous musical alter egos. Cho, a veritable human dynamo, commanded the entire keyboard in a virtuoso display, vividly portraying the wrestling match between the impulsive extrovert Florestan and his introverted counterpart, Eusebius.
The concerto's slow movement took the form of a crushing funeral march, showcasing the soloist's immense muscularity and manual dexterity. The work concluded with a capering finale that cast Cho as the willing protagonist in a surreal orchestral farce, bringing the audience to its feet.
A Fitting Tribute to Boulez and Maderna
The concert concluded with Pierre Boulez's Rituel in memoriam Bruno Maderna, serving as the grand finale to the LSO's Boulez centenary celebrations. This intricate masterpiece features seven verses and seven responses performed by eight spatially separated ensembles of varying sizes. Against the backdrop of an immense array of Chinese funeral gongs, Pascal—who worked closely with Boulez—directed the instrumental groups with the precision of a traffic cop. While inherently a sad work, its extraordinary palette of colour and light provided a compelling and fitting tribute to a deeply respected artist.
This LSO Futures concert demonstrated the vibrant health of contemporary classical music, offering a rich tapestry of contrasts from the effervescent to the elegiac, and solidifying the orchestra's commitment to nurturing new compositional talent.
