This was all decent if safe programming, made more vital by the accompanying masterclasses. Crowds flocked to a screening of Ethel & Ernest, a faithful adaptation of Raymond Briggs’s affectionate tribute to his parents. In an off-the-cuff introduction, Shepherd delivered a rousing call to arms to defend artistic integrity, complete with plenty of swearing and cheering.Įlsewhere, retrospectives were dedicated to Aardman (now 40 years old!) and Studio AKA, purveyor of glossy, quirky shorts such as the BAFTA-winning Lost and Found. Mixing animation and live action, ranging from family dramas to one-gag skits, his back catalogue could pass as the work of several directors, were it not for the absurd humour running through it. The highlight was a screenings of the works of Chris Shepherd, proud Scouser and arch provocateur. Yet there was still a British flavour to the programme. Talks and workshops were given equal weight to the films, and one event investigated cutting-edge virtual reality technology. This year the organisers cast their nets wider, looking at the industry at large. I look forward to hearing the other parts of Higdon's City Scape.Last year’s edition had a local focus, centring on the legacy of Manchester’s defunct Cosgrove Hall studio (of Danger Mouse fame). This was intriguing and always approachable music and certainly had “exquisite beauty”. In between the water flows calmly or becomes quite turbulent in a forceful climax, all evoked by surging strings or remarkable combinations of instruments. The composer writes about the streams and rivers in the green spaces: “the waters represent constant change, under calm waters and over powerful currents, doing so with exquisite beauty.” The work starts and ends with magical sounds from the percussion. Jennifer Higdon’s City Scape is a three-movement evocation of this city from 2002 we heard the second movement, river sings a song to the trees. Barráez sometimes seemed to be dancing along.Īfter the interval we were in another city, Atlanta, but in its parks. Barráez (conducting without a score) and The Hallé gave us a scintillating performance, conjuring up all the varied emotions of a foreigner in a strange but fascinating and exciting city, now strolling around contentedly only to be alarmed by the traffic, then relaxing in a park and then enjoying the nightlife, sometimes bewildered but giving in to the sights and sounds around him. The first piece of today’s concert, An American in Paris, showed that the writer of Broadway musicals could compose a symphonic poem to match those of any of his contemporaries. If Korngold failed to be accepted as a “serious” composer after gaining a reputation as a composer of film scores, Gershwin had been more successful at crossing the divide between popular and highbrow. The concerto formed the centrepiece of a concert billed as “Cityscapes” and presenting us with a programme of American music related to cities.

Highbrow manchester