i’m away this week, living it up in Lincolnshire on the Rarescale composition/flute summer school. Proms reviews will continue at the weekend.
Last Saturday’s Proms Matinee concert given by Birmingham Contemporary Music Group, conducted by Franck Ollu, featured several world and UK premières, which together gave one pause for thought with regard to the relationship between surface materials and their deeper impulsion. Their respective points of inspirational departure were extremely varied, encompassing a peripatetic storytelling cellist, an examination of a parasitic fungus and an intense miniature song-cycle.
Proms premières come in all shapes and sizes, and last week’s new works from HK Gruber and Hugh Wood were larger and more aspirational specimens. Scale and stature are different things, though, and despite their respective composers’ demonstrative ambition (and experience, composing veterans both), each of these pieces were hobbled by considerations that would have been less problematic in smaller-scale forms. Read more
Relatively few of the Proms premières include vocal elements, which makes Cheryl-Frances Hoad‘s new work From the Beginning of the World, first performed last Monday, a very welcome exception to the norm. Initially billed as ‘Homage to Tallis’, her piece was nestled amidst a concert otherwise dedicated entirely to the great man’s music, a context that throws down a pretty substantial gauntlet. For inspiration, Frances-Hoad turned to Danish astronomer Tycho Brahe’s detailed account of the “great comet” visible across Europe in 1577. Insodoing, she is appealing both to an innate sense of wonder as well as to more polemical ends, setting words with connotations pertaining as much to present-day resource-depletion and asinine political shenanigans as to 16th century shock and awe. Read more
Right, let’s get (belatedly) cracking. For a few years, the annual Proms season began with a première, which was nice but reduced the piece (or, at least, reduced composers’ aspirations) to a mere curtain-raiser. Gary Carpenter‘s Dadaville, which received its first performance in the opening Proms concert last week, did not begin the concert (that task fell to Nielsen), but the piece would in fact have worked wonderfully well as a concert-opening overture, but one with considerable chops and ambition. Read more
i’m now heading off to Sweden for a week-and-a-bit; once i’m back, belated coverage of the Proms premières will begin.
Back to Tectonics, and to one of the most beautiful new orchestral scores i’ve encountered in recent times. Christopher Fox‘s Topophony, for orchestra and up to three optional soloists (but not a concerto), operates in such a way that the conductor ensures that every beat is a different length. Beats are not of over-arching sonic importance, though, as the music speaks through slow, meditative swatches of instrumental colour, comprising textures of protracted, shifting pitches with a variety of surface articulations. These are often fascinating, conjuring up motors, the noise of something caught in bicycle spokes, the bell of an alarm clock: unpitched occasional worryings that become a delicate counterpoint to the rest of the orchestra which, apart from some moments when deep throbs threaten to overwhelm, comes across by contrast as rather distant (in both senses of the word). Read more