Another interesting première from 2016, also performed at the Tectonics festival, also for piano and orchestra, also featuring John Tilbury as soloist, is Howard Skempton‘s Piano Concerto. This is a work that i’ve been more than usually interested to hear. In conversations throughout the last couple of years, Howard has talked about this piece with me on numerous occasions, though his marvellously inscrutable way of describing it meant that, beyond knowing there was a Stravinsky connection, and that 12-note ideas were not unimportant, the … →
i’ve been spending time with assorted premières from last year, and among the more striking is the most recent—and, in fact, the final—addition to American composer Michael Pisaro‘s ongoing fields have ears series of works. Pisaro’s notion of the ‘field’ comprises a grid arrangement, the vertical rows corresponding to the players and the horizontal columns to divisions of time. Subtitled ‘constellation, monarch, canyon’, fields have ears (10) is a work for piano and orchestra, and Pisaro treats each of the … →
There’s a a time to get excited about music, and there’s a time to leap around with irresistible, exuberant elation. 2017 is less than two weeks old, and already I have no doubt whatsoever that I’ve heard what will prove to be one of its very best albums. Looking back over the last decade, one of its most epic recurring zeniths—running through it like a range of mountains towering over almost everything else—has been the output from two sibling projects of Dutch … →
HAPPY NEW YEAR! i’m starting 2017 in the usual way, with a mix tape bringing together one track from each of the forty albums on my best of 2016 list. i’m sure posterity will come to regard last year as something of a trough in human history, but this mix tape does at least testify to the fact that it also contained some truly marvellous wonders. i hope you find these three hours of music a nice distillation of the aural magic … →
Here they are, then: the best of the best of 2016, each and every one of them packed full of the rarest imagination, invention and ingenuity. i can’t recommend them highly enough.
i’ve long wondered whether there’s any justification—or, indeed, any point—in making end of year lists, particularly when, as usual, there’s a pile of as yet unplayed discs staring down at me from the shelf above my desk. But, for all its provisionality, the following list will serve as a good starting point for anyone wanting an eclectic, considered, non-partisan take on the best of this year’s albums. Besides, lists are cool. So to begin with, here’s the first part of my … →
As with his vocal works, Michael Finnissy‘s chamber music is represented on four Metier discs, comprising around twenty pieces composed across three decades, from 1977 to 2007. This is only a miniscule proportion of Finnissy’s vast quantity of chamber music, but it nonetheless provides a valuable demonstration of various aspects of his compositional language. Above all, his omnipresent engagement with existing musical materials, which while often manifested in Finnissy’s music to varying degrees of convolution and obfuscation, could hardly be more overwhelmingly obvious in … →