Floating and flowing: Apartment House at Eternal September
Concert review
27 September 2024
I may have finally found the warmest church in all of London. As such, St Giles Cripplegate—the venue for last Friday’s third instalment of Eternal series—certainly earns a few extra points in this review. The concert featured an eclectic programme of nine works for string quartet, occasionally expanding to include piano/keyboard as a fifth member, all performed and curated by Apartment House. One attendee gave a curious description of the two distinct halves of the evening: ‘sound art versus music.’ My take? ‘Floating in an ocean versus swimming with the river’s current.’
The first half opened with Ramūnas Motiekaitis’ Snowless NY 1949, an enchanting piece, swirling with a montage of hues and colours. Gretchen Korsmo’s blissful but chaotic Body More generated a remarkable sense of anticipation and energy, even in the performers’ locked-up postures, as the gentleness of the piano grappled with the relentlessness of the string quartet. By contrast, the stark sparsity and low-impact gestures of Taku Sugimoto’s AB2357 felt slightly out of place. Gentleness returned in Paul Paccione’s And the days are not full enough, with chorale-like strings and a delicate piano melody. Finally, Billy Steiger’s Box (for EKM) also explored the interaction between the two forces: this time, the strings’ incessant bowing evoked the hum of a medium-sized beehive, a texture that resonated well with the audience.
The second half opened with Marco Baldini’s Quartetto, which was a pleasure to finally hear live, following the success of his debut albums on Another Timbre. The poise and serenity of the piece perfectly suited the church’s ambiance. Jem Finer’s folkish Hrdy-Grdy raised the energy, transporting the audience to distant times and places where things evolve slowly, much like the booming drone of the cello. The piece also featured an extraordinary violin timbre, achieved by placing a piece of foil on the bridge. How wrong I was to think the emotional peak of the concert had already been reached. What followed was a true surprise: an airy and poised performance of Passacaglia by Italian 17th-century composer Biagio Marini. Even more miraculous was the final piece of the evening, Martin Burlas’ Koda, which Apartment House seamlessly wove into the Marini work. For a moment, I wasn’t sure whether we were still hearing Marini or had transitioned into Burlas, but the effect was stunning. A quip by a fellow concertgoer, who wished to remain anonymous, deserves a special mention: ‘I knew Marini was innovative, but not that innovative.’
Having praised Apartment House’s performances over the years, I find myself running out of fresh ways to describe them. Yet this time, it felt like they truly outdid themselves, especially with a choice of repertoire that worked spectacularly well. Each piece burst with charisma and personality, making the music—and the evening—indelible. I’m genuinely intrigued by what Eternal series, led by Sasha Elina, will offer next and which other ensembles will contribute to this remarkable concert series.