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John Gilhooly, Director of Wigmore Hall said, ‘Since its auspicious opening in 1901, Wigmore Hall has become the international headquarters of chamber music with a diverse roster of artists and repertoire. At this time of renewal, we are keen to continue our search for new and unjustly neglected voices on stage. I am particularly looking forward to our Learning Festival, which explores how the pandemic has challenged but also strengthened our sense of community.’
Tickets for all 25 concerts in the re-opening festival are available initially on a ballot basis to Friends of Wigmore Hall which can be joined for as low as £50 a year. Seating capacity will be determined by government announcements in the coming weeks. 13 concerts will be streamed free of charge on the Wigmore Hall site, and 3 concerts will be broadcast on BBC Radio 3.
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Kaleidoscope Chamber Collective
Whether full or empty, Wigmore Hall always feels like a natural home for Messiaen’s Quartet for the End of Time. It’s a piece that creates its own breathless hush in any halfway decent performance. This one was assuredly better than that. Appropriately for the name of the ensemble, Kaleidoscope majors on collective unanimity and sensitivity rather than individual brilliance, although Matthew Hunt’s clarinet stood out for its poetry of reserve even before the long, dark night of his ‘Abîme des Oiseaux’ solo.
In the long stretches of octave and unison writing, Sheku Kanneh-Mason played attentive partner to Elena Urioste’s more characterful violin. Even his glissando at the end of the Intermède was self-effacing to a fault, and his ‘Louange’, while tenderly shaped, lacked the fragile urgency and goal-driven radiance of Urioste’s finale. I especially liked the darker, copper colours of her D and A strings before the unsentimentalised
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