Many thanks to all of you who expressed your views on this year’s Proms premières, it’s always fascinating to compare my own responses with those of so many others, particularly when we disagree! Since closing the polls a few days ago, i’ve fed the results (938 votes) into what has become by now quite a clever little spreadsheet—and voilà, here’s a summary of how you all voted.
Worst New Work
Lera Auerbach – The Infant Minstrel and his Peculiar Menagerie
i must admit i’ve wondered whether my own negative reaction to this piece was somewhat churlish considering how much fun Auerbach is evidently aiming it to be. Further reflections haven’t changed my mind, however—if anything, they’ve reinforced it—and the majority of you clearly felt similarly. To quote from my review: “doggerel masquerading as playful pastiche”; certainly a worthy (if that’s the right word) piece to be judged the worst of this year’s premières.
Runners Up
Magnus Lindberg – Two Episodes
Helen Grime – Two Eardley Pictures
Yes, i can see where you’re coming from. While Auerbach’s was, to my mind, the only really egregious example of barrel-bottom-scraping, Lindberg’s was almost an unimpressive. His work in recent years seems to exhibit a kind of laziness, relying on well-worn tropes, that’s disappointing considering how impressive have been some examples of his earlier output. In this particular instance, the Beethoven red herring gives it even less credit. Grime’s music clearly needs an overhaul, pure and simple. It’s limited in scope, tautological and superficial, which is all the more frustrating considering there are moments in the Two Eardley Pictures when one detects something altogether more engagingly nebulous lurking beneath that ultra-crystal clear surface.
Best New Work
Reinbert de Leeuw – Der nächtliche Wanderer
Not my own personal favourite, but a work i enjoyed very much. i still think it’s a risk, de Leeuw extending this lengthy nocturnal meditation to a duration of almost 50 minutes, but i still think he gets away with it (just), avoiding clichés and norms in favour of an ambiguous, spontaneous narrative that’s often strikingly vivid (i can never get that dog’s barking out of my head).
Runners Up
Jörg Widmann – Armonica
Michael Berkeley – Violin Concerto
For me, these were the real highlights. i love the mixture of simplicity and complexity that permeates Widmann’s luscious soundworld. It’s a tension that allows one to enjoy the work on a number of levels of engagement; i certainly find more in it each time i hear it. Berkeley’s concerto has, i hope, proved to those who needed convincing that he’s not simply one of the old guard, but a composer simultaneously looking back and forward, embracing the best of both worlds. Beyond this, it’s extremely refreshing to witness a composer being so emotionally raw, a quality that seems to have become alien (or, at best, rationalised) in most contemporary music circles. His concerto ranks among the very best new works that the Proms has heard in recent years.
And in case you’re interested, among the remaining premières, it was Piers Hellawell’s Wild Flow that left most of you supremely indifferent, another verdict with which i can readily agree. Once again, i tip my critical hat to the acuity of your discernment.
As i said before the season began, i had been tempted not to bother reviewing this year’s new works, due to the timidity of the selected composers, and while it’s turned out to be more interesting than i’d feared, there’s no doubt at all that the Proms seems to have barely a clue about contemporary music. One of its worst offences, which i’ve probably mentioned every year, is its singular lack of interest in/awareness of electroacoustic music, expanding instrumental groups with electronics. It seems the Proms believes you’re either entirely acoustic and therefore classical, or you use electronics and you’re therefore pop. i couldn’t give a monkey’s about the Proms’ insistence on including pop-related concerts—that’s even less of a crime than clapping between movements (which isn’t and never has been a crime anyway, so shush)—but their ignorant failure to explore what contemporary composers are doing to integrate acoustic and electronic composition is as embarrassing as it is shameful. Proms director David Pickard seriously needs to up his game.
