Smith Square Hall, located in the heart of Westminster, is a beautiful 18th-century building. It is so striking, both inside and out, that simply being there would justify the ticket price alone. Add in some world-class music, and it makes for a truly wonderful evening.
Fantasia Orchestra, founded by conductor Tom Fetherstonhaugh, has quickly gained recognition for its cross-genre programming and collaborations with leading artists. As part of their 2025/26 season, they have curated an eclectic series of concerts spanning a wide range of musical styles and guest performers.
They welcomed Jasdeep Singh Degun, a virtuoso sitar player, composer, arranger, and improviser, along with leading tabla player Gurdain Rayatt. Together with the 22‑piece orchestra, they delivered a superb evening of music that fused Western and Indian traditions with remarkable clarity and warmth.
In the short breaks between the programme’s seven pieces, both Degun and Fetherstonhaugh took time to speak to the audience, explaining how the concert was shaped. Their aim was to explore connections between Minimalism, Baroque music, and Indian classical traditions. Styles that may not seem natural partners, yet proved to blend remarkably well.
The evening opened with Degun’s own composition, In Search of Redemption, a stirring and atmospheric work that set the tone perfectly. This was followed by Terry Riley’s In C, which Fetherstonhaugh explained is built from 53 short melodic fragments performed in a semi-improvised manner. It was the longest piece of the evening and, while undeniably interesting, felt somewhat abstract and perhaps a little overextended compared to the rest of the programme. A light-hearted moment came when Degun accidentally attributed the piece to Philip Glass, prompting a playful correction from Fetherstonhaugh in the evening’s second act - an exchange that highlighted the warmth and rapport between them. In fairness, the piece did carry a distinctly Glass-like quality!
The second half began with a powerful and energetic performance of Thunderstorm by Jean-Philippe Rameau, played by the orchestra without sitar or tabla. Degun and Rayatt then returned for Rageshri, a vibrant, rhythmically driven piece (written by Degun). It featured dazzling sitar playing and a lively tabla–sitar exchange, highlighting the two artists’ close musical partnership, before the strings rejoined for an exciting finish.
Another Rameau work, Tristes apprêts, followed and provided a striking contrast to the previous piece by the French composer. Originally written to showcase a soprano, it took on a fresh and intriguing character in this arrangement. Fetherstonhaugh noted that, while it cannot be confirmed, this may well have been the first time the piece has been performed with sitar.
The concert’s final two pieces were Echorus by Philip Glass (definitely this time!), a work showcasing the talents of two violin soloists (played superbly by Millie Ashton and Hana Mizuta-Spencer), followed by Degun’s own Aria. Alongside Rageshri, this piece further showcased his rapid, virtuosic playing. He explained that while “aria” in Italian opera refers to a melodic vocal solo, in Hindi/Sanskrit it can mean “gem” - a fitting description for an evening that was, in every sense, a gem.
Review: Jack Shaw Photo: Pablo Strong