What do a nearly century-old cupboard, a saxophone and a young classical pianist have in common? On Wednesday, 21 October, they all played a part in Beyond Silence, an intimate concert by musician and composer Denis Patrickson at Piano Smithfield.
By Surya Anthony
What do a nearly century-old cupboard, a saxophone and a young classical pianist have in common? On Wednesday, 21 October, they all played a part in Beyond Silence, an intimate concert by musician and composer Denis Patrickson at Piano Smithfield.
Performing to a nearly sold-out room, Patrickson delivered an evening of original music, beautiful melodies and an entertaining running commentary that kept the audience engaged between pieces.
His performance involved an unusual combination of piano, saxophone and live looping. Rather than relying on pre-recorded accompaniments, Patrickson created musical passages onstage, recording and layering them as he moved between instruments. The transitions were remarkably smooth, with the sound of the piano continuing as he picked up his saxophone, and sometimes the other way around.
Each piece came with an introduction, often humorous and always personal. Patrickson even revealed that one of the evening’s first compositions had been written just the night before.
Another highlight was Angel, a piece Patrickson wrote for his niece around three and a half years ago, and one of the evening’s particularly lovely performances. He also shared Lochgoilhead, a composition inspired by a castle from his time living in Scotland, giving the audience glimpses into the personal stories behind his music.
A delightful addition to the programme was Nico Veall, Patrickson’s 11 year old student, who took to the piano for three pieces. His performance introduced a different energy to the room and offered an enjoyable contrast to Patrickson’s original compositions.
Then there was the piano itself. Its wooden body, Patrickson told the audience, was fashioned from an almost century-old cupboard. He built it to have the appearance of a traditional piano while remaining practical to transport. And, as he pointed out with a smile, a piano makes rather more of an impression onstage than a keyboard.
The surroundings were equally well suited to the music. Piano Smithfield’s elegant, red-accented interior and intimate seating created a welcoming atmosphere, while the near-capacity audience added to the sense of occasion.
For those interested in discovering live music beyond London’s larger concert halls, Beyond Silence was a reminder of what smaller neighbourhood venues can offer: accomplished musicians, unexpected discoveries and the opportunity to experience something a little different.
