In terms of volume, the Last Night of the Proms ensures the festival ends with a bang rather than a whimper. In terms of musical imagination, originality, provocation and insight, however, the reverse has long been the case, & the event today does little more than put the shit in shitfaced. It’s hardly surprising, then, that the premières commissioned to jump-start this party-cum-concert have for the most part become little more than functional bursts of effervescent froth, limp spurts of … →
Despite BBC Television’s astonishingly stupid recent efforts to reinforce this myopic dogma, new music does not and never has existed in a hermetically sealed, separate space, set apart from the entirety of music that has gone before it. Composers might sometimes wish it did (echoing Beckett’s “All that goes before forget”), but it’s a moot point; audiences—especially Proms audiences—cannot fail to approach contemporary music saturated with the knowledge and memories of a myriad earlier musical experiences, classical or otherwise. Excising … →
The latest round of Proms premières got one thinking about the relationship between expectation/innovation and engagement. It was Judith Weir‘s new work that got this particular ball rolling around the mind. A composer already at the less adventurous end of the new music spectrum, in recent years her music has increasingly seemed imaginatively torpid, practically treading water. Day Break Shadows Flee, composed for and premièred by pianist Benjamin Grosvenor, went to essentially no lengths at all to challenge that assessment.
Nothing remotely ordinary, it often seems, can come from Scandinavia. This notion was emphatically corroborated at the Proms in the recent pair of UK premières from Iceland’s Haukur Tómasson and Finland’s Jukka Tiensuu. i can’t help wondering whether they succeeded as strongly as they did in part for essentially the same reason, namely that they each embody a remarkable immediacy, even a simplicity. That’s not to say that these are simple pieces—they couldn’t be much farther from it—but there’s an … →
Last week’s visit to the Proms by Daniel Barenboim’s West-Eastern Divan Orchestra brought first UK performances of works by two composers of Middle Eastern descent. Ayal Adler and Kareem Roustom, born in Jerusalem and Syria respectively, opted for compositional approaches that in some ways could be described as opposite. Adler, coming from a starting point of pure sonics (“an echo, or a reminiscence of sound, lingering after the vast chords slowly fade away”), aimed for an emphatic example of abstraction; by … →
New works at the Proms regularly come in the form of concertos, violin and piano continuing to be represented most. The planned performance of Luca Francesconi’s Duende – The Dark Notes (a work i’d been very much looking forward to) on 7 August was unfortunately cancelled due to soloist Leila Josefowicz having just given birth to her third son. However, that disappointment was more than mitigated by its fine replacement, Brett Dean‘s Electric Preludes, also a violin concerto—but for the … →
The three Proms premières given at the end of last month make for an interesting comparison, with regard to the relationship between material and intention. There was no little weight being hefted around; Jonathan Dove‘s Gaia Theory aspired to James Lovelock’s hypothesis of the same name, concerning ideas of ‘self regulation’ in the systems that make up our planet, whereas Gabriel Prokofiev‘s Violin Concerto took both its subtitle, ‘1914’, & its narrative from aspects arising from the commemorations of World War I. … →