Philharmonia Orchestra

Marlowe Theatre, Canterbury, Sunday 16 February 2020

This concert was entitled Sunshine and Melody – a contrived, very generic and completely unnecessary label of the sort beloved of the Philharmonia Orchestra. It’s hard to think of any programme which couldn’t sit under this title. In fact we got L’apres midi d’un faune, the Walton viola concerto and Brahms’s second symphony.

I wish they’d called it Celebration of Youth given the astonishing Angus Webster, still only 20, on the podium and Timothy Ridout, 25 and a BBC Radio 3 New Generation Artist, playing the concerto.

Webster, from Cornwall, is studying under Esa-Pekka Salonen as one of the first Salonen Fellows at the Colburn School in Los Angeles. This concert was his Philharmonia debut and he certainly knows how to coax a fresh sound even from a seasoned group almost all a lot older and more experienced than he. I liked the attractive purity of the Debussy performance especially in the rapport between harp, flute and tremolo strings, delivered with lots of warmth and colour.

Walton’s viola concerto doesn’t get many outings and it really should. Not only is it a fine piece but it’s a treat to see the viola take centre stage – especially in the hands of talented Timothy Ridout. His casually insouciant manner and frequent grins belie his technical prowess and the quality of his discourse with the rest of the orchestra as well as with Webster – he struggles to face the audience, often turning to fellow players behind him like the sensitive chamber music player he clearly so often is. He packed the opening andante with lyricism and found velvety richness in the third movement. His instrument dates from the 1560s, by Peregerino di Zaretto and it sounds terrific.

Conducting without score (as he also did the Debussy) Webster treated us, after a slightly ragged opening, to plenty of lush Brahmsian melody in the first movement of the second symphony which had a distinct sense of a young man’s rejoicing in the glorious grandiloquence of it all. He also gave us very incisive pizzicato passages and evocative dynamics throughout – definitely a performance with a lot of soul. It’s good to see such musical collaboration between the four string section leaders too, especially in the allegretto with all its repeats at which they moved, with Webster, as one, frequently glancing at each other.

Susan Elkin

 

Ida Haag at the Arts Forum

A new exhibition opens at the Arts Forum on the Marina on 4th March and Brian Hick has been in contact with the Swedish Artist Ida Haag who is exhibiting her recent work.

Ida Haag’s art speaks of identity, illusion, magic and nudity. These motifs conceal strong dramatic emotions, often within deceptively endearing images. In order for her to survive in the “normal” world she applies special mechanisms and fictional characters that can be perceived as reality. Some of these personas are from her parallel world, Ismanien. These characters can be experienced in her art.

‘Ismanien is a fictional world that exists under ice. Ismaniens’ characters (or personas) started to appear in my life when I was a child. I saw first my different feelings in colours and later in figures that became part of my reality. They helped and advised me on a daily basis. They still do. ‘Manik’, the yellow character in my work is the crazy one, who is really much too excitable and does funny things. If I feel I am ‘Manik’‘Igur’ – who is the other red persona – can come to rescue me and to give me advice on how to cope. ‘Igur’ is cold, with no empathy at all, but is very nice as well. ‘Portvakten’ – who is the guardian of the gate – is the white persona that looks like a human bird. She can only see things in black or white. She is very focused on what is either in front or behind her, but misses all other details. She protects Ismanien all the time. ‘Blue Rabbit’ is the fighter, he is constantly falling down but manages to get up, again and again. He never gives up. Finally, ‘Vera’, who was human at the beginning but was kidnapped and taken to Ismanien where she turned into an ice butterfly, is an extraordinary persona. She has a huge amount of empathy and love. She is the main character in my book ‘Ismanien’. The book will be finished next year and I plan to publish it soon after.’

Ida has a BA degree in Fine Arts from the University of East London and in Sweden Image & Form from Mälardalens University, Photo & Image from Umeå University, Art & Design from Ålsta College and a background as a photographer and jewelry designer. Ida has mostly exhibited abroad including London, Paris and Bordeaux. She lives and works in Enköping, Sweden and in Bali, Indonesia where she also stays and work a few months a year.

‘Bali inspires me very much and I feel more ‘alive’ there than I do in Sweden. My studio is based in Ubud, an artist town with a very creative energy.’

Ida Haag’s studio has become her life. She feels she has no choice but to create. “My art is my survival” she says. To get control over her emotions she breaks them down and reconstructs them in her art, bit by bit, layer by layer.

The process of working towards a final result can sometimes take up to a year. Each layer has its own story and state of mind. In real life we cannot break down emotions but we are still trying to control them. “All the feelings we repress are always the ones that finally come up to the surface”, she says. “I know that my art raises many questions, and I like that. I do believe we see what we want to see. The majority of the visitors in the pass tell me that my art is very emotional. And for me that is the most important thing. People do not need to understand Ismanien but if the public feels what I am trying to express, I know that I have accomplished my goal as an artist.”

Her exhibition in St Leonards runs from 4 – 15 March at 36 Marina, Saint Leonards-on-sea TN38 0BU, and is open from 11.00am – 5.00pm