The London Contemporary Orchestra's Imagined Occasions: Not as scary as you might think

In a world of built-in obsolescence, everchanging fashions and even faster-changing technology, the arts might just be the last field in which age and experience have increased their value. Audiences will pay more now to see greats on their way out – Plác

The London Contemporary Orchestra
Imagined Occasions

In a world of built-in obsolescence, everchanging fashions and even faster-changing technology, the arts might just be the last field in which age and experience have increased their value. Audiences will pay more now to see greats on their way out – Plácido Domingo, Ian McKellen, the Rolling Stones – than those on their way up. So it’s something of a surprise to meet a classical group with no grand plans for the future.

“We have given real thought to what happens if we’re still going in ten or 15 years’ time,” says Hugh Brunt, the twenty something artistic co-director of the London Contemporary Orchestra (LCO). “When we get to 35 or 40, we may have to sack ourselves and find other artists and directors to take things forward.” He isn’t joking – it’s a mark of his seriousness, his faith in an ensemble whose raison d’être is staying relevant, that he would walk away from the group that he and the violist Robert Ames have built up from scratch.

In the five years since its beginnings as a one-off project, the LCO has created a cool but credible niche for itself. Combining pop collaborations and film soundtracks with avant-garde art music performances, in an increasingly polarised field the ensemble is forcing the Janus faces of the contemporary music scene to look one another in the eye.   

Brunt’s and Ames’s orchestra is an evershifting group that can equally comprise a quartet of soloists as it can 80 musicians. It has worked with artists such as Foals, Belle & Sebastian and Radiohead’s Jonny Greenwood but also has ambitions to stage Karlheinz Stockhausen’s experimental chamber music behemoth Klang – a project beyond the fantasies even of the directors of the Stockhausen Foundation.

For the orchestra’s fifth anniversary, it is pushing the boundaries still further, staging a triptych of bold, new, site-specific concerts entitled Imagined Occasions that may startle even its staunchest regulars. Locations range from the top of Primrose Hill at sunset to an abandoned Tube station.

“The producer Helen Scarlett O’Neill introduced us to Søren Kierkegaard’s Three Discourses on Imagined Occasions, which gave us a sense of trajectory and broad thematic development for the series,” Brunt explains. “Kierkegaard meditates on three episodes: a confession, a wedding and a scene at a graveside. In a simplified form, our three concerts follow this journey, moving from death to life in the first, pausing at the graveside in the second and then pondering the afterlife in the third.”

The music of the Canadian 20th-century composer Claude Vivier – which Brunt describes as “very direct and heart-on-sleeve” – is the continuous thread through the concerts. His “Glaubst du an die Unsterblichkeit der Seele?” (“Do you believe in the immortality of the soul?”), left unfinished after Vivier’s murder by a teenage male prostitute, forms the centrepiece for the opener. A musico- dramatic monologue, it describes with terrifying prescience a journey on the Paris Métro in which the narrator becomes suddenly obsessed with a young man. The disused Aldwych Station will be the perfect setting for the LCO’s performance.

“By creating a physical narrative and context, we hope that we’ll allow the audience to engage more closely with the music than they might be able to in a concert hall,” Brunt tells me. “Here, the performance will start off outside the station at a newsstand where people will collect a newspaper that is their programme. They will then have their train tickets checked and continue into the ticket hall, where they’ll find themselves among the hustle and bustle of commuters – as though we have reopened the station. This is where sounds first attract the audience and they’ll be drawn down the 100-odd steps to the platform by the sounds of Philippe Manoury’s “Inharmonies” from below. It’s almost as if they become the spirits of past commuters.”           

The actual performances of the Vivier and the rest of the concert (which includes a new commission by Gregor Riddell written for the space) will take place on the train tracks, with audience members then retracing their steps to a now deserted ticket hall. It’s an ambiguous journey that will begin again in August at the top of Primrose Hill, where the LCO will perform Vivier’s Zipangu at sunset, before walking their audience down to the Roundhouse (to a specially commissioned musical soundtrack) for four hours of immersive, multimedia Stockhausen. Then, in October, the action relocates to Bethnal Green’s Oval Space, where the audience will move between derelict buildings around the site, to round off the process with a vivid experience of musical fragmentation and decay.

“It’s not as scary as you think” might as well be the subtitle to all performances of contemporary art music, so desperate are performers to reassure their audiences with promises of accessibility and reinvention. The London Contemporary Orchestra is young and hip and its performances are definitely not as scary as you might think – they are scarier and all the more exhilarating for it. Catch one while you still can: they may not be around for much longer.

The London Contemporary Orchestra’s “Imagined Occasions” performances are on 24 May, 22 August and 3 October at various locations in London

The London Contemporary Orchestra. Photograph: Jane Stockdale.

This article first appeared in the 27 May 2013 issue of the New Statesman, You were the future once

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How conspiracy theories about the Salisbury attack tap into antisemitic tropes

Rather than blame Russia for the poisoning of Sergei Skripal, some are questioning the intentions of Labour MPs. 

Shortly after the poisoning of former double agent Sergei Skripal and his daughter, guests on the BBC’s Newsnight programme discussed the reaction of Labour leader Jeremy Corbyn. The Twitterati went into meltdown. Was the image of the Labour leader amid a Kremlin skyline part of a mainstream media plot to depict Jeremy as a “Soviet stooge”? Was the hat he was wearing “doctored” to look more Russian?

Much of the conspiracy material circulating online recently – and indeed the story on Newsnight about Corbyn – flowed from the shocking attack that has left Skripal and his daughter in hospital and affected many others. The government, and now EU leaders, have blamed Russia for the attack. Yet among some sections of the online left, there seemed a reluctance to point fingers. But if Russia didn’t do it, how could the matter be explained to fit a pre-existing worldview? Jews such as myself wondered how long it would be before the finger pointed at us. It wasn’t even a week before political space had been created which emboldened some to pursue the notion that not Russia but gangsters, Britain’s own research lab or yes, Israel were more reasonably the brains behind the poisoning.

One of the voices that gained traction in relation to the spy attack story belongs to former British diplomat Craig Murray, who took exception to the speed with which Russia was declared responsible. Picking up on the government line that the toxin was “of a type developed by Russia” he penned a blog entitled: “Of a type developed by liars” building on his previous piece “Russian to judgement” which contained numerous allegations, including that “Israel has a clear motivation for damaging the Russian reputation so grievously”. Murray’s work was picked up by left-wing news outlet The Canary and Evolve Politics, among others. The latter also quoted Annie Machon, a former MI5 agent who has previously supported 9/11 conspiracy theories.

Murray’s view soon entered the mainstream, with the Guardian referencing it and one Labour MP sharing a Murray tweet declaring: “Wow, if this is true Theresa May has some very serious questions to answer”. The spotlight on Murray’s theories was a worrying development given that not long before, Murray, had been speculating about another matter.

After the Labour MP John Woodcock introduced to Parliament an Early Day Motion that unequivocally accepts the Russian state’s culpability for the poisoning, Murray tweeted: “Remarkable correlation between Labour MPs who attacked Corbyn in EDM wanting no investigation into Salisbury before firmly attributing blame, and parliamentary Labour friends of Israel, I wonder why?” One can read into this statement what one wants, but to me it seemed to imply that rushing to judgement on Moscow might benefit MPs supportive of Israel, which in conspiracy world are in its pay. Certainly that’s what a number of online hounds sniffed. But rather than one type of conspiracy, Murray was apparently pointing to another. “A conspiracy to attack the leadership of Jeremy Cobyn, perhaps. If you think I was accusing them of being part of a conspiracy to kill Skripal, you are daft,” he tweeted. In short, he seems to be saying, whilst there was not a conspiracy of MPs to be a part of any plot to kill the double agent, the EDM “perhaps” represented a conspiracy to attack the leadership of Jeremy Corbyn. 

Others were bolder. One Labour activist, writing about the aforementioned EDM, declared it was “worth noting one of the people sponsoring this motion is a named CIA asset”. Though unspecified, the asset referred to was believed by some to be Ruth Smeeth MP. This seemingly centres on Smeeth being named in a single diplomatic cable from 2009, released by Wikileaks, in reference to her views, when a parliamentary candidate, about an early election being called by Gordon Brown. 

Entirely unrelated to these particular tweets or Murray’s writing, Smeeth also happens to be an MP who has spoken out about antisemitism, and was forced to accept police protection following antisemitic abuse she has received online. She and another MP, John Mann, have both received antisemitic death threats. I stood next to Mann at Labour party conference as a delegate berated him, calling him a CIA agent for taking on this “antisemitism nonsense”. For me, this interaction underlined the causality between some conspiracy theories and antisemitic activity (Mann is not Jewish, but has been a prominent opponent of antisemitism in the party). 

Though it is difficult to reduce to a simple guide, allegations of Israeli conduct that draw on classic antisemitic tropes should be avoided. In recent years this has included suggestions of “organ harvesting” which draw on the antisemitic blood libel, or those that speculate about political control, such as suggestions that “the Israeli tail wags the US dog.”

Certainly, the centrality of Israel to conspiracy theory has a long history. In Mein Kampf, Hitler alleged: “All they want is a central organisation for their international world swindler, endowed with its own sovereign rights and removed from the intervention of other states.” Of course, this type of global antisemitic conspiracy theory predates Hitler. The antisemitic hoax, the Protocols of the Elders of Zion, is decades older. Russian in origin, it purported to reveal a meeting of Jews seeking to manipulate governments, foment war and subvert the morals of society. Today, we see a similar sentiment. Indeed, Russian president Vladimir Putin suggested that Jews, or other ethnic minorities, might be behind electoral interference in America. A US lawmaker recently blamed a Jewish elite for controlling the weather and closer to home, one of the Twitter accounts that popularised the Corbyn hat conspiracy, has also shared antisemitic conspiracy theories.

With conspiracy theories transposing from the far right to the extreme left online, it is unsurprising that before long Rothschild conspiracy (secret Jewish plot) memes were posted on Labour party supporter and other forums in relation to the Salisbury poisoning. Indeed, antisemitism itself tends to attract the acrid smell of conspiracy theory. When such an act is alleged, cries of “smears” and “witch hunt” follow. Only recently, The Times reported on an MIT study which revealed that a false-news tweet is 70 per cent more likely to be retweeted than a true story. Maybe this is why allegations of Mossad collaboration with Nazis or Hitler’s support for Zionism have been so widespread.

People cannot necessarily be held responsible for falling for conspiracy theories. Trust in government is at an all-time low. Spin, scandal and economic sorrow have left people looking for alternative heroes and whomever is deemed most reliable on social media timelines will do. Conspiracy theories play into prejudices. They empower and embolden people to feel a step ahead, they provide a scapegoat and a self-satisfying rebuttal loop. Those that do know better meanwhile are perhaps worried to tackle others for fear of attack, hope for better times ahead or most worryingly, see populist conspiracy as a Trumpian route to power.

Last week, we helped organise the first ever one man show in parliament: Marlon Solomon, who will return to Edinburgh with his show “Conspiracy Theory: A Lizard’s Tale” this year. As he reminded us this week, it wasn’t so long ago that a Labour MP was stabbed to death by someone with a warped view of reality. Obsessive and distorted hatred of Israel and Jews has an effect. Conspiracy theories matter. They have real-life consequences for people. It is incumbent upon leaders across the political spectrum not to normalise or sanitise conspiracy theories, or conspiratorial antisemitism, nor to allow us to think we can “trust no one”. But then, as the conspiracists will tell you, I would say that, wouldn’t I?

Danny Stone MBE is the director of the Antisemitism Policy Trust.