Festivals

Proms 2018: Tansy Davies – What Did We See?; Jessica Wells – Rhapsody for solo oud; Joby Talbot – Ink Dark Moon (World Premières); Georg Friedrich Haas – Concerto Grosso No. 1 (UK Première)

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Every year the nature of the works premièred at the Proms – presumably due in part to the festival’s (i.e. the BBC’s) risk-averse emphasis on popularity and familiarity over challenge and provocation – veers wildly between extremes of light- and heavyweight fare. The most recent quartet of new works, considered together, are in many respects a vivid microcosm of this qualitative inconsistency.

However, there’s a world of difference between a trifle and mere triviality. No-one would claim – least of all the composer herself – that Jessica WellsRhapsody for solo oud, given its world première at Cadogan Hall on 30 July by oud-meister Joseph Tawadros, was anything more than a simple miniature workout for the instrument. From a tentative series of arpeggios, like warm-up exercises, the music develops into its main idea: rapid, syncopated music, redolent in style of the instrument’s Middle Eastern provenance, interspersed partway through with a slower episode exploring motifs in a more improvisational way. And that’s all there was to it – but this didn’t matter in the slightest, Tawadros executing the piece with such panache that its relatively narrow scope felt not simply forgiveable but beside the point. It was what it was and nothing more: an amuse-bouche (amuse-oreille?), brief, vivacious, harmless fun. Read more

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Proms 2018: Chaines – Knockturning; Laurie Spiegel – Only Night Thoughts; Daphne Oram – Still Point (World Premières)

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For the most part, the Proms has always liked to pretend that electronics don’t really exist. The exception to this wilful ignorance are the occasions when electronics are made the focus of either a specific piece or an entire concert, as was the case with ‘Pioneers of Sound’, a late evening tribute to the legacy of the BBC Radiophonic Workshop that took place at the Royal Albert Hall on 23 July. The undisputed highlight of the evening was the world première of a recently-discovered large-scale work by Daphne Oram but, alongside music by Delia Derbyshire and Suzanne Ciani, it was preceded by two smaller new works. Read more

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Proms 2018: Ēriks Ešenvalds – Shadow; Eve Risser – Furakèla (World Premières); Andrew Norman – Spiral (UK Première)

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A piece doesn’t have to be – in fact, can hardly be – all things to all people, but in the case of Shadow, by Latvian composer Ēriks Ešenvalds‘, one has to wonder if it has much if anything to offer a mature listener. This in itself is interesting precisely because of the fact that the driving force of the piece is a meditation on the implications of parental responsibility, using the words from Longfellow’s eponymous sonnet to contemplate the future and fate of one’s children. The words, as indicated by the poem’s opening line, are literally being said to oneself, so the ‘audience’ or object of these private ruminations is adult, while their subject is children. Read more

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Proms 2018: Georg Friedrich Haas – the last minutes of inhumanity; Hannah Kendall – Verdala; Isabel Mundry – Gefallen; Luca Francesconi – We Wept (World Premières)

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The London Sinfonietta’s Prom concert at The Roundhouse, on 21 July, marked the 100th anniversary of the end of World War I with great works by Messiaen and Ives, plus a quartet of world premières, commissioned to explore aspects associated with the conflict and its aftermath. Composers are often at pains either to avoid extra-musical content entirely or, if present, to play down its significance and play up the subjectivity of the listening experience. One of the few exceptions to this is war music, when composers can breathe a sigh of relief in the expectation that they can lean on programmatic associations to, at least, steer audiences in the right general direction.

Listening to these four pieces, three of which included mezzo-soprano Susan Bickley, it was impossible not to acknowledge their ‘war credentials’ due to the way they were presented, surrounded by discussions with three of the composers about their respective inspirations. Yet the extent to which they spoke with authority, or even authenticity, on this subject, was by no means as obvious. Read more

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Proms 2018: pre-première questions with Jessica Wells

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Tomorrow’s afternoon Prom concert in Cadogan Hall promises to be something a little different. Titled Ancient Rituals and New Tales, the event is a showcase for Egyptian oud player Joseph Tawadros. In addition to his own music Tawadros will also be giving the world première of Australian composer Jessica WellsRhapsody for solo oud. In preparation for that, here are her answers to my pre-première questions, together with the programme note for the piece. Many thanks to Jessica for her responses. Read more

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Proms 2018: pre-première questions with Andrew Norman

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Tonight’s Prom includes a short orchestral work by US composer Andrew Norman, titled Spiral. Here are his answers to my pre-première questions, together with the programme note for the piece. Many thanks to Andrew for his responses. Read more

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Proms 2018: pre-première questions with Ēriks Ešenvalds

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This evening’s Prom, titled ‘War and Peace’ and featuring the BBC Proms Youth Choir and the World Orchestra for Peace, gets underway with the world première of a new work called Shadow, by Latvian composer Ēriks Ešenvalds. In preparation for that, here are his answers to my pre-première questions, along with the programme note for his piece. Many thanks to Ēriks for his responses. Read more

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