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.
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 … →
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.
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. Ses snart!
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. … →
Moving on from exotica, for the last couple of days new music at the Cheltenham Music Festival has been revisiting aspects of the past in order to reflect on the present. Yesterday night, back at Parabola Arts Centre, this was manifested in a pair of chamber operas, performed by Nova Music Opera. i’ll resist the temptation to write about the latter of the two, Thomas Hyde’s That Man Stephen Ward, which ranks as one of the most nauseatingly effluvial dramatic … →