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Usher Hall, Edinburgh
Abel Selaocoe (arr. Benjamin Woodgates) Four Spirits
Every so often, you come across a performance that feels less like a concert and more like an experience. That’s exactly what happened with Four Spirits, a newly composed piece for the cello, performed by the extraordinary South African cellist, Abel Selaocoe.
From the moment he took the stage, Abel’s energy and charisma filled the room. He doesn’t just play the cello, he draws the audience into the music, making them feel like part of the story unfolding before them. The first three movements of Four Spirits were delivered with breathtaking precision, showcasing his incredible technical skill and deep emotional connection to the music.
But it was the fourth movement that truly set the performance apart. Here, Abel blurred the line between performer and audience, weaving the sounds of the crowd into the music itself. What could have been a simple recital became a living, evolving piece of art. Spine-tingling, immersive, and unforgettable.
Abel Selaocoe is a performer who commands attention not just with his virtuosity, but with his ability to transform a room into a shared musical experience. If you ever have the chance to see him live, don’t hesitate. It’s an experience you’ll carry with you long after the final note fades.
Shostakovich Symphony No.5 in D minor, Op.47
Last night I found myself back at the Usher Hall in Edinburgh for another journey into the world of Shostakovich. This time, it was his Symphony No. 5 in D minor, Op. 47, performed by the Aurora Orchestra under the baton of Nicholas Collon.
The first thing that struck me was the atmosphere in the hall. The concert was sold out on all levels, and unusually, the stalls had been transformed. Seats removed and replaced with beanbags, creating a much more relaxed, informal space. It gave the evening a different energy before a single note was played.
Shostakovich is still a relatively new composer for me. Earlier this year I heard his 10th Symphony, performed by the London Symphony Orchestra, also at the Usher Hall, and I’m still figuring out where he fits in my listening world. His music doesn’t offer the easy “hooks” or familiar melodies that some composers provide. Much of it flows in long, legato passages that can feel elusive, especially at first encounter.
The opening movement of the Fifth didn’t immediately grab me. It’s not the sort of piece that bursts out of the gate demanding attention. But by the time we reached the fourth movement, things shifted. From the start it was gripping, driven forward by a brass section that powered through to the end with immense force. The finale was immersive, toe-tapping, and undeniably exciting. An ending that stayed with me after the final note.
I’m still not certain how I feel about Shostakovich. At this stage, I wouldn’t say I’d go out of my way to seek out his works, but neither would I turn down the chance to hear more. Each performance adds another layer of understanding, and perhaps with time his music will resonate with me more deeply. For now, I’ll leave last night’s concert as an experience of discover – one that challenged, surprised, and, by the end, thrilled.