City Halls, Glasgow, 17 January 2009

Dave Heath

CHARLES RENNIE MACKINTOSH, eh? Who would have thought the Glasgow icon of architecture and design would become the focal point in the latest attempt to bind the classical and folk music world together.

Unusual as it seems however, the unique structure of Conflict And Resolution (aptly described by composer David Heath as opening “in opposition, a clash of cultures or a musical war”) is to reflect the musical traditions of Catalonia (where Mackintosh moved in the latter part of his life) and Scotland against the clinical realms of Classical music. On paper, it sounds a pretty good idea. In reality, though? Hmmm…

Set within the large, white walls of the City Halls, the best part of two years’ work came to a head here: the BBC Scottish Symphony Orchestra leading off with a twenty-minute piece that, as precise and perfunctory as you’d expect, was really just an aperitif to the main event due in the second half.

Heath, however, is a deceptive composer. Looking more like a wrestler than a cutting-edge conductor, he has all the grace and fluidity of a long-standing Tai Chi practitioner. He moves as if moving through water, and as he flows, so, too, does the music. After despatching the orchestra with almost arrogant nonchalance, it was left to film-maker and brainchild of this concept, Robin Crichton, to close the first half by introducing the visiting Catalan musicians – François Ragot (cello), Vincent Vidalou (tenora), Frédéric Guisset (tible, tamborí) and Francesc Sans (sac de gemecs) – and their respective instruments.

Suddenly the vibe took on a more workshop feel than a heavy conceptual classical-folk work. Crichton drew uncomfortable laughter from the audience when he revealed prostitutes in ancient Rome had to ensure they had a bagpipe-playing license if they wanted to trade, but that was before leaving the stage – after being presented with a gong, bestowed upon him by a visiting Catalan mayor – as an award for his dedication to championing Charles Rennie Mackintosh. And we hadn’t even approached the main event yet.

Fifteen minutes later it arrived, and if the Scottish musicians – Mary Ann Kennedy (clarsach), Shona Mooney (fiddle), Rory Campbell (bagpipes) – seemed nervous about fronting the BBC SSO, then it certainly wasn’t showing. Amplified above their classical cousins, it didn’t take long before the ‘Conflict’ between the two genres reared its head, the tension between the straight-back rigidness of the classical musicians and the loose comfortability of the folk musicians going head-to-head like butting stags.

Heath, meanwhile, was keeping a perfect lid on everything, dropping the musicians in and out as he pleased. The audience, however, were probably wondering where the Catalans were in all of this, and it was when they did finally enter the fray again – this time coming in from behind the audience, playing as they went – that the synchronicity between folk and classical could finally be properly assessed by the listeners.

So all begs the question: did it work? In a word, yes, but only in terms of a successful scientific experiment. As an enjoyable, sit-down listening experience, well… only the individual audience members themselves can evaluate that particular element. For this scribe, however, Conflict And Resolution seems a project that was worth pursuing.

There may lie question marks over its standing as pure entertainment, but when it comes down to pushing the boundaries of music, it’s a venture everyone can be proud of. That said, it’s my personal feeling that the classical and folk world will never make truly comfortable bed-fellows. David Heath, and his wonderful musicians, may beg to differ.

© Barry Gordon, 2009

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