Interviews

Proms 2017: pre-première questions with Erkki-Sven Tüür

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One of Estonian’s best-known composers, Erkki-Sven Tüür, makes his second visit to the Proms this evening, for the UK première of his work for strings Flamma by the Australian Chamber Orchestra (he was last heard at the Royal Albert Hall in 2003, with the Concerto for Violin). Like most of his fellow Estonians, Tüür’s music is rarely heard in the UK, so it’s a superb opportunity for audiences to experience his particular approach to composition (anyone expecting something similar to Arvo Pärt is in for a shock). As preparation for tonight’s performance, here are his answers to my pre-première questions. Many thanks to Erkki-Sven for his responses. Read more

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Proms 2017: pre-première questions with Anders Hillborg

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Despite being composed and first performed nearly six years ago, and also being released on CD in 2015, Swedish composer Anders Hillborg‘s Sirens, a large-scale work for two sopranos, chorus and orchestra, hasn’t yet been performed in the UK. Until, that is, this evening, when it finally receives its UK première at the Proms by Hannah Holgersson and Ida Falk Winland with the BBC Symphony Orchestra and Chorus. In preparation, here are Hillborg’s answers to my pre-première questions. Many thanks to Anders for his responses and to Sam Wigglesworth at Faber for his kind assistance. Read more

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Proms 2017: pre-première questions with Laurent Durupt

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This afternoon, at the second Proms Chamber Music concert at Cadogan Hall, French composer Laurent Durupt‘s first string quartet, Grids for Greed, will receive its world première by the Van Kuijk Quartet. Durupt is a composer new to me, so his answers to my pre-première questions are a useful starting point for becoming acquainted with him and his work. Many thanks to Laurent for his responses. Read more

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Proms 2017: pre-première questions with Roderick Williams

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Today’s Proms première is by renowned baritone Roderick Williams, whom many may not have realised – as i didn’t, until relatively recently – also has a sideline in composition. In preparation for the first performance of his new work Là ci darem la mano at Cadogan Hall this afternoon – in a concert otherwise devoted to the music of Monteverdi – here are his answers to my pre-première questions. Many thanks to Roderick Williams for his responses and to Francesco Bastanzetti at Groves Artists for acting as go-between. Read more

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Proms 2017: pre-première questions with Tom Coult

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Tonight, this year’s Proms season kicks off in earnest, and once again i’ll be reviewing all of the contemporary pieces receiving world or UK premières. As an extra feature this year, i’ve interrogated some of the featured composers with a short series of questions, the answers of which hopefully will provide a little extra insight into each composer and their music, both generally and specifically with regard to the piece being premièred at the Proms. First up is British composer Tom Coult, whose new work St John’s Dance gets the season up and running this evening. Many thanks to Tom for his responses; you can also read the programme note of his piece after the questions. Read more

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The Dialogues: Monty Adkins

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It’s a real pleasure to present a new instalment in my occasional series The Dialogues. This episode is in conversation with composer Monty Adkins, whose music i’ve written about many times on 5:4 and hold in very high regard. Our discussion explores a wide range of topics, including the fundamental aspects of Adkins’ compositional aesthetic, the history and development of his practice, the influence of visual art throughout his output alongside musical influences, considerations of beauty, narrative vs. abstract approaches to composition, the relationship between and implications pertaining to ‘authentic’ and artificial sonic environments, types of listening, perceptions of time, notions of the sacred, the imposition (and benefits) of compositional restrictions, the organisation/structuring of non-teleological music, combining electronics with live instruments, and Adkins’ relationship with the listener. In the course of our conversation, several articles and papers written or co-authored by Adkins are referred to; all are freely available to download, and links to all of them can be found below.

As before, i’ve included numerous excerpts of Adkins’ work throughout the Dialogue in order to illustrate or clarify what we’re talking about; a complete list of the excerpts is below, with links to buy/stream the albums from which they come. As usual the Dialogue is available to download or you can stream it via MixCloud. Despite the considerable length of our conversation, both Adkins and i felt afterwards that there was much more to talk about, so there may well be a second part at some point in the future.

i want to thank Monty for generously giving me so much of his time, and for being prepared to talk so openly (and for so long!) about his life and work. The trajectory his music has taken over the last twenty years is markedly different from many involved in electronic music, and i hope both newcomers and long-standing fans of his work will find our discussion as fascinating and illuminating as i did. Read more

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The Dialogues: John Wall

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i’m delighted to be able to present the latest instalment in my occasional series The Dialogues. In this episode, i’m in conversation with the composer and performer John Wall, whose work i’ve very deeply admired for many years. Wall and i got together over the summer, and our conversation took place within his studio, affording him the opportunity to illustrate our discussion with numerous audio excerpts, many of which are included in the edited recording. In addition to exploring the techniques and development of Wall’s 22-year career in electronic music—during which time he has gradually evolved from working with chunks of sampled acoustic sound into a world constructed from tiny electronic slivers—we explore a variety of associated topics, including sampling, compositional decision-making, collaborations and many other related issues. Read more

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