Premières

In addition to the various multimedia / audiovisual events at Borealis 2021, the festival included a number of more conventional concerts. Violinist Ricardo Odriozola’s recital featured a mix of Norwegian, British and US works, two of which, Dániel Péter Biró‘s blink-and-you’ll-miss-it Moshe Went Up and Tim Hodgkinson‘s The Landscape Theory…

Norway’s annual Borealis festival is more than just a conventional sequence of concerts primarily concerned with the way music sounds. Its aim is evidently toward a more holistic experience, one in which words and visuals are just as important – often, more so – than what we’re hearing. As such,…

To bring this year’s nature-focused Lent Series to a close, i’m turning to a major work by British composer Laura Bowler. Antarctica is a 50-minute multimedia piece for voice and orchestra that constitutes a very personal, and very passionate, response to a variety of issues affecting the natural world. As…

When choosing the theme of nature for this year’s Lent Series, one of the first works i knew i wanted to include was Histoires Naturelles, a collaboration for voice and electronics by Ute Wassermann and Richard Barrett. Not to be confused with Ravel’s song cycle of the same name(!), the…

For the next work in this year’s nature-themed Lent Series i’m turning to not so much a fully-fleshed, self-contained composition, but something of a miniature curiosity, an outtake saved from the cutting-room floor that’s subsequently been restored. Olivier Messiaen‘s final orchestral work, Éclairs sur l’Au-Delà…, completed in 1991, was a…

My nature-themed Lent Series finally gets to explore the night in La Leggiadra Luna by Albanian composer Thomas Simaku. A choral work composed in 2017, its text is an Italian translation (by Salvatore Quasimodo) of a fragment by the Greek poet Sappho. The words articulate a short reverie marvelling at the…

In The Thin Tree (discussed in my last post), Klaus Lang abstracts ideas, patterns and concepts from nature, and creates a soundworld that develops and grows from an opening 4-note idea. Korean composer Unsuk Chin‘s 2019 orchestral work SPIRA – Concerto for Orchestra does something similar, also being concerned with “the…

For me the basic idea how to translate from one field of art into another is not to imitate the surface (like programme music) but to find underlying abstract principles and give them an acoustic representation. These words of Klaus Lang (from a lecture he gave titled ‘Boston Beauties’) refers…

For the next work in this year’s nature-inspired Lent Series, i’m returning to the world of birds. Japanese composer Akira Nishimura‘s 1993 orchestral work Bird Heterophony takes its inspiration, in part at least, from a folk tale from Papua New Guinea, in which a young woman witnesses her brother transformed…

The next piece i’m exploring in this year’s nature-themed Lent Series is a vocal work by Estonian composer Evelin Seppar. Pretty much all of my experience with Seppar’s music thus far has been vocal: Поля ли мои, поля (Fields, Oh My Fields) made a strong impression at the 2017 Estonian…

For reasons geographical and pandemical, it’s quite a long while since i’ve had the chance to be by the sea. To a limited extent, i’ve been able to do this vicariously through the opening movement of To Be Beside the Seaside, the first orchestral work by English composer Joanna Bailie.…

Many thanks to those of you who voted in this year’s Proms première polls. Not surprisingly, given the circumstances, the turnout was considerably lower than usual, with just under 200 votes cast. Considering that the polls were only open for four weeks this year (instead of the usual 10), and…

In addition to purely electronic music, this year’s Estonian Music Days once again featured many works melding instrumental and electronic elements. The most potent collision of old and new technology came at the Arvo Pärt Centre on Saturday afternoon, where Anna-Liisa Eller’s kannel (the traditional Estonian instrument, a form of…

The last couple of years have been unusual for the Estonian Music Days. In 2019 the festival was bloated beyond all recognition and sense due to its assimilation into the World Music Days, making for a horribly hectic and exhausting experience. In 2020, for reasons pandemical, it was the opposite,…

Like most of this year’s festivals the 2020 Proms was cancelled due to the pandemic, with the BBC offering a selection of ‘greatest hits’ from their Proms archive. That itself was pretty interesting, inasmuch as (just like with their broadcasts of Choral Evensong) it revealed how one year’s festival is…

As was the case at last year’s festival, most of the concerts at Forum Wallis 2020 focused on works for ensemble. However, while in 2019 the majority of performances involved larger numbers of players, due to the pandemic almost all of the pieces this year were for small chamber groupings,…