On the final day of Bristol’s New Music festival, reasserting itself after the inevitable pandemic hiatus, two groups put on concerts with a considerable variety of composers.
Birmingham Contemporary Music Group paid tribute to the late Harrison Birtwistle, with two Elliott Carter works, of which the reflective ending of 1990s Con Leggerezza Pensosa felt particularly appropriate. And, in recognition of what would have been Oliver Knussen’s 70th birthday next month and of his long and fruitful association with BCMG, there were two pieces by him. Gems of instrumental solos, Secret Psalm for violin and Eccentric Melody for cello, were played by Collette Overdijk and Ulrich Heinen respectively. Eloquent and expressive, it was notable that it was Knussen’s music that commanded the most hushed, rapt attention. Artistic director Stephan Meier conducted when the full quintet of players were involved, but he also marshalled the audience for the clapping and ssshh-ing in Birtwistle’s Roddy’s Reel. Mark O’Brien was the brilliant bass clarinettist in this good-humoured finale where the smiles that Birtwistle clearly intended were everywhere.
