On Wednesday 6th of November, the London Philharmonic Orchestra conducted by Edward Gardner performed a new piece written by Freya Waley-Cohen (commissioned by the LPO)- Mother Tongue.

However, it was clear that the packed audience filling the Royal Festival Hall was there on account of the main attraction of the night- Icelandic pianist Vikingur Ólaffson performing Brahms’ Piano Concerto No.1. 

One of the most renowned and idiosyncratic pianists of this generation, the anticipation surrounding Ólaffson’s presence was obvious whilst keen concert-goers took to their seats.

Regardless of the fact that the Brahms was performed with utmost clarity and intrigue (as expected), it can be argued that the real takeaway from his musical offerings of the night was Ólaffson’s encore- his own arrangement of an Icelandic folk song.

The tonal colours created were astounding. The two hands were so distinct in sound that, if listening blind, one could believe that they were being played on two different instruments.

The atmosphere created in the hall was precious and as Ólaffson left the stage for the final time, the space was filled with whispered words of admiration. 

Waley-Cohen has a reputation for providing atmospheric, lavishly colourful music and Mother Tongue is no anomaly.

Its inspiration is rooted in the idea that “language holds all of the history and culture of its people” (as the composer herself describes in the program notes). 

The story that Waley-Cohen explains of language being passed down through generations through the 4 movements of the work isn’t so evident in the music, perhaps due to the work’s wild and turbulent nature.

In spite of this, Mother Tongue's colourful and exciting soundscape was undeniable and the technically demanding writing was executed impressively by the members of the orchestra.