Page 528 - Media Coverage Book - 75th Aldeburgh Festival 2024

seemingly time-less yet the sounds make sense narratively on a first listen. Collectively it’s
an unusual sound rooted in a surprisingly familiar sound world that is implicit.

To recognise this and feel at one with it at the same time is deeply moving, not simply
because the work itself is profound but also because a lifetime of listening has collapsed in on
itself. Memories of childhood where music teachers awkwardly describing music they love to
their young class in language completely disconnected with present day language catapulted
20th century music into a far away land and time. It sounded silly, impenetrable and
incomprehensible then. Were they out if their minds those composers and teachers? Now,
forty years on it suddenly makes sense. A gift for the future created by an innovator in the
past. Finally, I can connect with it.

Gweneth Ann Rand’s performance is total. She is striking presence in the performance space
– strong, powerful and vulnerable. Her non-verbal communication straightens shoulders and
backs. There is composure, isolation and breathtaking story in the tiniest details in her face,
and a clenched fist. Wiping away a runny nose on the back of her hand after a particularly
intense song, there was ambiguity – intended or simply of the moment?

Pianist Simon Lepper isn’t so much doing a marathon at the keyboard as making a Herculean
effort. This isn’t an accompaniment but a duo. Both musicians necessary technical mastery
never gets in the way of emotional intent. And a word too for the page turner whose
concentration was total and terror kept at bay.

It is a special moment (similar to connecting with Mahler 6 at the Proms 10 or so years ago)
when a connection is made. Location, score, and musicians are melded into one lasting
memory. This is not a work (at least not for me yet) to revisit in recording but live and in
person. So much of it is theatrical and perhaps created by the audience too.