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They demonstrate once again the drive of artists to find new ways to connect with audiences. We are nicely set up for these by Prokofiev’s Overture on Hebrew Themes for six instruments. It was written in 1919, soon after Prokofiev’s escape from the Russian Revolution. The sounds are well balanced as the tempo alternates between dancing and saying farewells. Sally Arai on clarinet and Martin Kratky on cello introduce the two themes. Now, the meat of the concert. Be prepared to be bombarded with images. There are three screens to distract one from the sound, which, after all, is what it is all about. There are the flying hands and delicate fingers of the sand artists in the top right, close-ups of the KSO on the left and a full stage view on the bottom.
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