Temperate rainforests are lush, humid environments. The constant moisture creates the perfect conditions for a staggering array of ferns, lichens and fungi to thrive. They carpet the trees, meaning the forest floor extends upwards.
In this setting, green leaves projected on to the ceiling formed a forest canopy, and the recorded sound of bird song immediately transported me to a woodland forest.
Fifteen mini platforms, big enough for 2 or 3 musicians, were seemingly scattered throughout the space and thus the orchestra, with the intention of encouraging the audience to promenade throughout the space, as if meandering in an actual forest.
Seating, or rather the lack thereof, was a conundrum. Provide it, and the audience are unlikely to wander through the space. Don’t provide it and the audience (at least the younger members) sit on the floor towards the rear, whilst the more mature, seek purchase on the base of the columns holding up the roof.
An audience of 200 or more filled the space, soon to be joined by the musicians, who entered one by one, with slow deliberate steps, each carrying their instrument, before settling themselves on some of the mini stages.
Gradually, music replaces the bird song at first soothing and ethereal, and later more strident. The music was interspersed by short narratives which offered small nuggets of information such as, at one time, as much as 20% of the UK was covered in temperate rainforest. Today, as little as 0.07% remains.
Mendelssohn’s overture from Midsummer Night’s Dream with its soothing familiarity, seemed the perfect choice to transport one into the forest.
The audience begins to explore the space slowly moving between the islands of musicians, in a rare, if not unique opportunity, to get so close to the performers, and hear pockets of sound, although I was pleased that my perch was behind the brass so that I could appreciate the playing rather than being overpowered by it.
I am in awe, as Maxime Tortelier, the conductor, held everything together, in a sterling 220 degree performance, eliciting the best from top class talent.
Almost imperceptibly the sound of buzzing was introduced, which developed into the unmistakable sound of the chain saw, followed by the crashing of felled trees. One by one the musicians lay down clutching their instruments. I cannot be alone in contemplating a world without music, at the same time as a world without trees. Surely the purpose of the evening. Joyously, the musicians stood and resumed their places, the music returned, and the sound of a regenerating forest filled the space. Some of the music choices were less to my taste and whilst the Midsummer Night’s Dream and Nadia Boulanger’s wonderful Patience of Trees were excellent, I was less enamoured by Strong on Oaks, Strong on the causes of Oaks, by Michael Nyman
This is the second time that I have heard Sinfonia in the Square and once again I was blown away by the talent in such a young orchestra. If you get the opportunity to experience Orchestral Forest or to hear Sinfonia Smith Square, you absolutely should.
Images courtesy of Sophie Oliver Home – Sinfonia Smith Square
