Premières

Ultima 2019 (Part 2)

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A golden rule in cinema is “show, don’t tell”, reminding the director it’s invariably more subtle and effective to avoid directly stating the things you want the audience to consider and instead to incorporate them into the medium itself, in the process allowing for a more subtle, rich and wide-ranging interpretation of meaning. Following on from my considerations yesterday about the relationship between music and images, the latter of which had had a damaging effect on the former in some of the works performed at this year’s Ultima festival, i wonder whether an inverse of that rule would work well in music: “tell, don’t show” – tell us in sound the things you want to say, don’t put them up explicitly in front of us as words or images. To this end, the works that made the deepest and most profound impact during Ultima’s opening weekend were ones that sidestepped visual stimuli and engaged directly with the invisible and the intangible. Read more

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Ultima 2019 (Part 1)

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When you listen to music what do you see? What does music look like, and what do images sound like? What’s the relationship between musical and visual stimuli? These questions became something of a recurring consideration during the three days of concerts i attended recently during the opening weekend of the 2019 Ultima festival in Oslo. To be more specific, these questions were caused by the prevalence of visual elements incorporated into many of the pieces being performed. While in some cases the music was enhanced, elsewhere it proved a great deal more problematic.

The most egregious example unfortunately came on the festival’s opening night, at a concert in the city’s grand Konserthus devoted to just a single piece, the world première of Lyden av Arktis (Sound of the Arctic) by Lasse Thoresen. Even before the Arctic Philharmonic began to play, issues were already raising themselves. Thoresen had provided not so much a programme note as an extensive blow-by-blow account of each and every detail of its highly programmatic narrative, inspired by and seeking to depict aspects of Arctic landscape, nature, experience and heritage. Quite apart from the fact that this is the worst possible form of programme note – effectively telling the listener (spoiler alert!) what they should be listening out for and how it should all be interpreted – the only meaningful way to have engaged properly with its tl;dr contents would have been to follow along with the text during the performance, which in the darkened hall would in any case have been impossible. Read more

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Proms 2019: Daniel Kidane – Woke (World Première)

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Perhaps there’ll come a time when it’s possible to mention the Last Night of the Proms without also mentioning, usually in the same sentence, the word ‘tradition’. This is not that time. Whatever you may think of its entrenched traditions, one of the Last Night’s better ones has been the tendency in recent years to commission a new work to get the party started. Unfortunately, the majority of the chosen composers have opted into a parallel tradition: composing something trivial, frivolous and forgettable, the musical equivalent of a party popper, all streamers and flashes and a short burst of hot air.

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Proms 2019: Bach Night

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Here we go again. Four of the last premières at the Proms were the product of the festival’s irresistible inclination not to allow composers to just write what they want to write but to force them to ‘respond’ to earlier music. Last year, the most prominent example of this was The Brandenburg Project, and this year they’ve sought to repeat the idea on a smaller scale. Bach Night, which took place last Wednesday, included the first performances of four pieces each of which was composed in response to one of J. S. Bach’s orchestral suites. Performed by the period ensemble Dunedin Consort, conducted by John Butt, all the pieces were around three minutes long, compelling the four composers – Nico Muhly, Stevie Wishart, Ailie Robertson and Stuart MacRae – to create not so much responses as brief reactions.

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Proms 2019: Jonny Greenwood – Horror vacui (World Première)

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Any kind of sound processing – human, mechanical, digital – is a response of some kind: taking a signal, possibly analysing it, before doing something with it or to it. The latest new work at the Proms, Jonny Greenwood‘s Horror vacui, takes this as its starting point and modus operandi. In essence a violin concerto (subtitled “for solo violin and 68 strings”), the music extends the conventional concerto relationship of the one pitted against the many by drawing for inspiration on forms of sound processing, some physical, such as the ‘Palme’ speaker of the Ondes Martenot with its resonant strings, and some electronic, including delay, reverb and stretching. This melding of acoustic and electronic is fundamental to the work as a whole, which seeks to use the former to emulate and transcend the, as Greenwood sees it, limitations of the latter. Another inspirational element comes from the title, referencing kenophobia, the artist’s desire to avoid at all costs empty space. Read more

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Proms 2019: John Luther Adams – In the Name of the Earth (European Première); Louis Andriessen – The Only One (UK Première); Freya Waley-Cohen – Naiad (World Première)

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The latest crop of premières at the Proms have encompassed extremes of scale and duration. John Luther AdamsIn the Name of the Earth received its first European performance at the Royal Albert Hall yesterday by no fewer than eight choirs, comprising 700 singers. At a little over three quarters of an hour in duration, it’s by far the longest new work to be heard at the Proms so far. The UK première of Louis Andriessen‘s orchestral song cycle The Only One – lasting a mere 21 minutes – also took place yesterday, and earlier today the shortest of them all, Freya Waley-Cohen‘s 8-minute chamber work Naiad, received its world première at Cadogan Hall. Reflecting on these three pieces together, never has it been more true that size isn’t everything.

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Proms 2019: Dobrinka Tabakova – Timber & Steel; Linda Catlin Smith – Nuages (World Premières)

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i’ve often wondered whether, in music today, energy and complexity tend to be mutually exclusive. The whole ‘clocks and clouds’ dichotomy: regularity versus ambiguity, pulse versus drift, clarity versus obfuscation. This is certainly one of the considerations that arises from the latest pair of Proms premières: Dobrinka Tabakova‘s Timber & Steel, which could be described as acting like a metaphorical clock, and Linda Catlin Smith‘s Nuages, which in both its title and behaviour directly invokes the nature of clouds. In many ways they’re a polarised couple of pieces: Tabakova’s avoiding almost all traces of vagueness in its precise, relentless forward momentum, Smith’s obfuscating its reality in a floating, pulseless environment.

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