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Still reflecting on the latest venture to the Italian Riviera, ProgBlog looks at the legacy of the port city of Savona: Delirium and Il Cerchio d'Oro who released the rather good Il Fuoco Sotto la Cenere in the autumn

Keith Emerson: Three Fates

By ProgBlog, Jul 12 2015 10:43PM

I’ve just spent another night at a not-your-usual-kind-of gig. I’ve been signed up to the Barbican Centre’s mailing list for almost 18 months now and the kind of show it puts on are often on the fringes of ordinary prog: the Lindsay Cooper tribute last year and Goblin performing a live soundtrack to Profondo Rosso earlier this year are prime examples and mean that appearances by Van der Graaf Generator lie relatively safely within the boundary of the genre. The Keith Emerson Band would have been straightforward crossover prog but for the performance on 10th July they were joined by the BBC Concert Orchestra with conductor Terje Mikkelsen playing The Three Fates Project, an album of orchestrated works by Emerson, largely but not exclusively originally presented as trio pieces with ELP, and also featuring a couple of tracks by guitarist Marc Bonilla. I was personally rather thrilled by the prospect of the concert, imagining it hinted at the Works tour with orchestra in the late 70s which sadly had to be curtailed because of the negative financial impact, so it was good to see Emerson performing with an orchestra.

Emerson’s love of classical music is indisputable and his classical adaptations for a rock group format are legion. He also has a long history of integrating a rock band with an orchestra dating back to his days with The Nice: The side-long title track of Ars Longa Vita Brevis (1968); the commissioned title track from Five Bridges (1970); and ELP’s Works (1978) which included his Piano Concerto no.1, the first true formal classical piece he’d written. However, this concert also formed part of the Barbican’s Moog Concordance series, marking 50 years since Dr Robert Moog unleashed his modular synthesizer on an unsuspecting world; a modular Moog formed the centrepiece of Emerson’s keyboard set-up.

I was accompanied on this sonic adventure by Jim, who pointed out that the recent back-room deal between the BBC and the government, in which the corporation agreed to pay for the cost of free TV licences for the over 75s, estimated at £650 million, was likely to require further cuts to services provided by the BBC, such as their orchestras. The Myerscough report Delivering Quality First from 2012 about the future funding of the BBC, talked about job cuts and rationalisation of Performing Groups: the five full-time orchestras and the BBC Singers. The size of the funding cut was to be of the order of 10 per cent but it swiftly became apparent that this figure was not to be shared out equally: the BBC Symphony Orchestra and the BBC Philharmonic got away with single-figure cuts whereas the BBC Concert Orchestra and the BBC Singers had to bear the brunt of the cuts. Of course I think that the TV licence fee should be reviewed and restructured, as should the current governance structure of the corporation after the awful handling of the last round of negotiations with the government, but the BBC remains an important organisation, largely unbiased, that offers not only some incredible programmes accessible to everyone and facilitates live culture through its Performing Groups, one of which was supporting Keith Emerson. Hands off the BBC!

The show began without Emerson but with the orchestra, drummer Ralph Salmins and bassist Travis Davis who inadvertently created a huge crunching noise over the quiet orchestration at the start of Abaddon's Bolero as he plugged in his guitar. The appearance of Marc Bonilla as the number built to a crescendo drew a burst of applause from the audience which was repeated, louder, when Emerson, replete in a sparkly dark suit appeared to play a few bars on the Moog at the end of the piece. At this juncture Emerson explained a little bit about the concept of The Three Fates and cracked some feeble jokes when he really shouldn’t have bothered. He even asked if Rick Wakeman was present in the audience, suggesting that Wakeman should do the jokes. It also appeared that he expected Dream Theater’s Jordan Rudess to be in the crowd but it wasn’t clear if Rudess was to supply any humorous material... The music fitted the classical treatment really well and it was during the second piece, The Endless Enigma that I realised how Emerson’s scoring for strings was quite identifiable, harking back to The Five Bridges Suite. Emerson didn’t contribute to Bonilla’s American Matador but the composition didn’t seem at all out of place, showcasing the guitarist’s technique and genuinely providing a Spanish feel. We were sitting quite close to the front of the stalls and over to the left side of the stage close to where the band had set up and from this position, though the full orchestra was distinct, the only part of the band that was consistently audible was the drums. I could hear the cellos and double bass better than I could make out the bass guitar; the volume of the guitar became more acceptable as the concert progressed but the keyboards, with the exception of the grand piano, were for the most part indistinguishable, lost in the swell of the brass, woodwind and strings. It was only when Emerson played solo lines like for the encore Lucky Man that he could be made out clearly.

The weakest songs may have been After All Of This (which Emerson described as also being And all of that) and a piece from a film that never surfaced The Mourning Sun but that might have been due to their relative brevity. It was interesting to hear the performance of an Alberto Ginastera piece other than ELP’s version of Toccata, Malambo and the presentation of Fanfare for the Common Man, preceded by a story about asking Copeland for permission to use the piece, was a clever comparison of the score as written followed by a version just featuring the electric group that had originally appeared on Works. The highlight was of course Tarkus in its entirety, which didn’t sound out of place as an orchestrated piece.

Emerson took up the conductor’s baton for part of the encore and seemed to do fairly well. Lucky Man, dedicated to Greg Lake and featuring the only vocals of the evening, ably provided by Bonilla, brought the event to a close. With ELP never likely to play together again a concert like this was a must not miss occasion. Despite some difficulty with the sound (at least from our seating) the performance was exceptionally enjoyable, far more so than the last rock band and orchestra I went to see – the disappointing Journey to the Centre of the Earth. It's just a bit ironic that there was no attempt to play The Three Fates from the eponymous first Emerson, Lake & Palmer album when the night's performance was dubbed Three Fates.



1 comments
May 23 2016 01:17PM by Aurora

I was there too !!! :D

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