A Life On-Line: Bach from Leamington Spa, Australia, Perth and Oxford, plus Coleridge-Taylor from London

Bach: Christ lag in Todesbanden - Armonico Consort, Christopher Monks (photo taken from live stream)

Bach was very much a theme of the week, with an early Easter cantata, some bracing Australian arrangements and an exploration of the Mass in B minor which mixed live and on-line in an innovative way, and not to forget Bach's older cousin Johann Christoph. But there were other explorations from Johann Schop to Samuel Coleridge-Taylor to a young contemporary composer from the North East.

Our week began with a continuation of the Easter mood, with Armonico Consort's film of Bach's Easter cantata, Christ lag in Todesbanden, BWV 4.

Stealing away the children: the Pied Piper of Hamlyn

Colin Matthews & Michael Morpurgo The Pied Piper of Hamlyn; London Philharmonic Orchestra, Vladimir Jurowski; Royal Festival Hall
Reviewed by Hilary Glover on Feb 8 2015
Star rating: 4.0
Magical new re-telling of an old tale in new work from Colin Matthews

Lunch time on Sunday (8 February 2015), amidst the excitement and chattering (and a few overexcited tears), the atmosphere for the new commission by the London Philharmonic Orchestra of Michael Morpurgo's (1943-) 'Pied Piper of Hamlyn' realised by composer Colin Matthews (1946-) and illustrator Emma Chichester-Clark was more palpable than usual for a premiere. But the dimming of the lights worked their usual magic and very soon all were enthralled by the music, conducted by Vladimir Jurowski, and spectacle, hanging on every word from the narrators - Morpurgo himself, in dashing orange, and Natalie Walter, hot from filming Horrible Histories. A few children from Deansfield Primary School added their voices to the mix, creating a wonderful retelling of this tale.

'Pied Piper of Hamelin' is an old story, first recorded in the 13th century, and consequently is one with debated origins and meanings – are the children meant to be returned as in Morpurgo's version? Or did they all die of plague, or were killed on a children's crusade, or were relocated along with their families to Poland or Transylvania? Certainly the rats only entered the story in the 16th century - but they are now the most well known aspect. The blind and lame children were added much later by the Brothers Grimm in the early 19th century. The eco-friendly rebuilding of the polluted city as the price for releasing the children would seem to be Morpurgo's own 21st century take – and, since each generation before has rewritten the story to exemplify their own thorny social problems, why not?