Issue 19 / February 2012

Reviews Bido Lito! February 2012 25
moment I enter it’s clear that the
portrayal of these concepts is the
key to the evening’s great success.
Descending the spiral staircase
before the main room, a member of
the Orchestra is there to serenade
all newcomers on an old wooden
harp, completely immersing us all
in the atmosphere of the event. No
introduction is made before the
opening piece, Howard Skempton’s
Air Melody, this in keeping with the
rest of the apparently spontaneous
performance. Unlike most orchestras,
the a.P.A.t.T Orchestra rely heavily on
the individual performer’s own feeling
for the music, rather than it being fully
scored. With lots of looping, sustained
notes and unusual time signatures
this brings a challenge not only for
the players but also for the audience.
The suspense of the orchestra’s music
is defined by the musical writing,
and enhanced by the unique, churchreverberating
acoustics and dramatic
visualisation of the Crypt itself - think
of it as a minimalist’s 3D movie.
With orchestral performances,
the musicians performing in front
of you can often seem a little
disinterested, having practised the
pieces repetitiously in rehearsals
and previous concerts. This being a
one-off performance, however, the
a.P.A.t.T Orchestra feel fresh and full
of energy and personality, if a little
under-rehearsed. In a positive way
though, this helps to create a feeling
The a.P.A.t.T Orchestra (Keith Ainsworth)
of unity with the audience – we’re all
immersed in it together. This intimate
feeling with the orchestra played a
big part in a particularly touching
moment of the performance: Howard