Once again, Glasgow’s annual winter festival of traditional music from all parts of the world is formed of an astonishingly packed programme of music, dance, trails and poetry in venues throughout the city. This year’s opening weekend saw two distinctly different orchestral concerts, each pushing the boundaries of what an orchestra can be.
Returning to the Celtic Connections stage on Friday evening was Orchestral Qawwali Project with their signature blend of Sufi, Indian classical and western classical music. The two soloists – and the driving forces behind the ensemble – were magnetic and commanding. Composer Rushil Ranjan gave a passionate performance on piano, while singer Abi Sampa (pictured below) had a real magnetism as she led a group of singers in their Qawwali: a form of Sufi Muslim devotional singing and chant.
Ranjan’s orchestrations really highlight the capabilities or a symphony orchestra and what a powerful vehicle it can be for music of all genres and origins. Opening with Ala Hoo, a shimmering pedal emerges in the strings, before powerful swathes of orchestral colour emerge. Manchester-based conductor Melvin Tay expertly guides the orchestra – a mix of musicians from Orchestra Qawwali Project and the GRIT orchestra – through the moods of the piece, and is intuitively sensitive to the balance of soloists and orchestra. The driven, percussive Ganje Shakar had strong momentum while the more contemplative Rubaru had moments of peaceful serenity matched with ardent passion. Sampa’s singing here was particularly exquisite, her haunting vocals perfectly capturing the transcendental nature of this style of singing.
The following evening, many of the same musicians were on the same stage for a concert which equally highlighted the power and dexterity of a symphony orchestra, but in a completely different genre. In a concert to commemorate 20 years since the passing of groundbreaking Scottish composer Martyn Bennet, the GRIT orchestra, under the direction of founder Greg Lawson (pictured below), reimagined Bennet’s music with ingenuity and innovation while still faithful to his original work. Shputnik in Glenshiel, from Bennet’s 1998 album Bothy Culture featured soaring strings matched with pipes, while the more gently paced Aye, from the same album, had a sensitive lilt, with intricate ornamentation from the violins. A particularly moving moment was GRIT Orchestra’s rendition of Blackbird, from Bennet’s later album GRIT, released in 2003. Members of the Glasgow Philharmonic Male Voice Choir sensitively sang medieval Latin plainchant, a backdrop to Scottish singer Karen Matheson’s stunning solo. The modal melodies of the Gregorian chant naturally harmonised with the lilting slow Scots air and beautifully blended with the sweeping strings and powerful percussion.
Martyn Bennet was just 33 when he died from cancer in 2005. A true visionary, it would have been wonderful to be able to see what he’d have done with just a bit more time. That said, his musical legacy is by no means stagnant, with Lawson and the GRIT orchestra continuing to breathe new life into the oeuvre of this pioneering musical mind.
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