Finlay Clench
Concerts of the Future is as revolutionary as its title sounds. It is just the sounds which this production churns out which are more limited. Transported down Summerhall’s passageways, you are sent to Sydney by House of Oz and Sonicrats who sculpt an instrument for you in a scientific laboratory and give you time to learn to play before launching you into a room with the Syndney Symphony Orchestra (in VR form) where you experiment with your instrument, and have to learn your part. It’s just the part you eventually play which is less participatory.
White-coated scientists creating an instrument is a highly abstract concept which is quite shocking in the music sphere. Science blends with the realm of profound creativity in an interesting clash – those making the performance are not musical themselves which was slightly surprising. The whole experience feels a little more scientific than musical as it doesn’t quite become apparent by the end of this half hour experience what the general idea for concerts in the future will be. It would be a nice addition to witness a possible future for music more generally. That is not to say, picking up an unknown instrument and becoming familiar with it alongside an orchestra is something extremely refreshing. Musically, often our culture is rooted in rules and regulations — we are not given freedom to experiment especially in orchestras, and what the team do is they open up free reign to anyone (those musical and not musical) to access the orchestral experience.
The highlight of this performance came with trying out the instrument for the first time. Entering a room decked with scientific monitors and complex graphics of Beethoven, you feel invested and immersed in the musical space. Your instrument has been personally made and formatted by a team of scientists in around 5 minutes before your entry into the second space. The production gives you a good amount of time to get familiar with your surroundings: you feel as if you are genuinely learning to play an instrument. Then, being handed an obscurely formed chiming instrument, you are given the resources to play. The team give you three minutes of practice time (maybe slightly longer would elevate the experience) and given the chance to understand how each of the notes can be played. Movement of the instrument, making the performance more accessible, adjusts the pitch and speed that the notes will be played. This is totally unique, and an unforgettable experience. It all feels deeply personal.
Those who have created this project are humorous, bubbly and really keen for you to enjoy the experience. They are keen to know how you found the experience, and you are sold by their interest in you, and the music that you create. They make the experience memorable and engaging, ensuring that this is not just dull experiment but a human one.
The VR section, as the piece goes on where you are actually invited to play alongside the Symphony orchestra is quite fascinating. Seated on a spinning chair, holding your instrument, you are keen to explore the room you are placed in and doubt what is real and what is not. You receive even a video introduction from those you met earlier in the room. This is all quite incredible, and totally will blow audiences away. Unfortunately it all feels a bit video-game like which just diminishes the potential of a game-changing piece like this. During this latter, final portion I couldn’t actually hear my instrument, like I had in the room previously. It all felt a little like a gimmick or maybe I just couldn’t fully master the instrument that had been formatted for me.
Recommended Drink: An iced Americano (to improve your concentration and to wake you up before you play with a professional symphony orchestra)
You can watch Concerts of the Future at Summerhall Lobby until 31st August at various times (30mins). Tickets are available via the EdFringe Online Box Office.
Image Credit: Angus Kemp
Shay Mace
Eve Miller
Roe McDonnell
