The New Music Biennial has apparently been running for a decade and this year’s event was a mixture of greatest hits and new commissions. The thing that sets the festival apart from other events is the format. Commissions are about 15 minutes long and are followed by a Q&A with the artists explaining their thoughts when composing the piece. The piece is then repeated so you can then hear it a fresh light.

As somebody who struggles to understand the complex imagery composers attempt to create with an orchestra, enjoying the music rather than ‘understanding it’. To hear what the composer intended offered me an opportunity to listen with a bit more of an instruction guide.

The first piece illustrated this perfectly. Urban Birds by Arlene Sierra featured three pianos arranged in a t-shape played by the pianists Xenia Pestova-Bennett, Sarah Nicolls and Eliza McCarthy who were accompanied by field recordings of various birds. My interpretation of what was happening in the music was completely wrong. Listening back after the explanation, I could hear what the composer was trying to achieve, giving me a completely fresh view of a piece I had only listened to 20 minutes earlier.

Next up was my highlight of the weekend, Gazelle Twin, who with composer Max de Wardener reworked ‘The Power and Glory’ from her album Pastoral, for a concert orchestra. Today accompanied by the BBC Concert Orchestra, we saw two powerful performances of the piece. Gazelle Twin isn’t somebody I have really got into. Her music is too electronic for me. But with a concert orchestra providing extra dynamics and Elizabeth’s beautiful voice. The piece was stunning.

The rest of the weekend was filled with little gems. Anna Meredith’s work for the human body – where the orchestra used their body as percussion and basically danced the piece was an unusual highlight. There were brass bands, electronic artists using tape, choirs and sea shanties. There was something for everyone and all free. Londoners are really spoiled.

Today was Piano Day at Daylight Music. Some of the strongest Daylight sessions have been their Piano Day events. They have introduced me to many great pianists and composers. One of those artists is Xenia Pestova-Bennett who has played several Daylight Music Piano Days. Xenia is not only a very talented pianist, but an artist who composes pieces that push the envelope of the piano. Returning with a Piano Day involving Xenia was always going to set a high bar for the rest of the season.

I was photographing today’s session and arrived early for soundchecks. On arrival the church looked beautiful with the star of the day, the piano, standing proudly as the early spring sun streamed into the church.

Starting the season was Jo Johnson and Hilary Robinson with a piece they had never performed together before. Written during lockdown and marrying electronic music and field recordings with beautiful minimalist piano music. The piece was really beautiful.

Next up was another returnee to Daylight Music, Sarah Angliss. This time bringing along two singers, Melanie Pappenheim and Sarah Gabriel. Sarah always does something different when she plays Daylight. Whether it is using a robotic ventriloquist dummy, or bringing unusual instruments. Today she used early keyboard instruments and combined them with haunting and beautiful vocals of Melenie and Sarah who explored texts from the moon landings and old English poetry. It was a stunning performance.

Closing the session was Xenia and Austrian composer Karlheinz Essl with their take on a core piece of the piano repertoire, Bach’s Goldberg Variations. Gold.Berg.Werk uses the framework of Bach’s seminal piece and interweaves Essl’s own take on variations, using recordings of other instruments and electronica which Karzheinz sends to different speakers around the church.

I have to admit. I have never got on with the Goldberg Variations. I find it a bit wearing and plodding and have never felt the need to see it performed live. But Essl’s electronics wizardry transformed the piece for me. He helped create space between each of Xenia’s exquisite variation as he filled the church with the sounds of ghostly strings and electronica. It was almost as if the Church was alive and answering the piano. At times flirting with the piano, with quick stabs of violins that sounded like bells ringing at a wedding. Other times, almost reacting with sadness, as if Xenia’s piano brought back a trauma. It was a thoroughly fascinating take on such a well known piece.

Not a bad way to spend a Saturday afternoon. What a great way to welcome back the new season. A high bar has been set.