Premières

Festival of Nine Lessons & Carols (King’s College, Cambridge): Mack Wilberg, Peter Maxwell Davies, Jan Sandström, Gabriel Jackson – The Christ Child (World Première) & George Baker

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A VERY HAPPY CHRISTMAS TO YOU ALL!. In celebration of today, and continuing the tradition started here on 5:4 last year, here are highlights from the Festival of Nine Lessons and Carols that took place yesterday at King’s College, Cambridge; the recording is of today’s repeat broadcast, which includes both of the final organ voluntaries. This year particular homage was paid to Sir David Willcocks, who turns 90 this month, with numerous settings and arrangements of his included in the service.

Near the start, a beautifully light and playful rendition of Ding! Dong! Merrily on high, splendidly arranged by the American Mack Wilberg; the ending has a distinct glint in its eye. Peter Maxwell DaviesOne star, at last was commissioned for the service 25 years ago, and returns sounding as fresh as ever. Max’s rendering of George Mackay Brown’s words is deeply thoughtful, tapping into both the awe and mystery as well as the more ominous elements at its heart; the question “What hand / Will take the branch from the dove’s beak?” is arguably more pertinent today than at the time of this carol’s prèmiere.

The Swede Jan Sandström (who famously studied with, among others, Brian Ferneyhough) is represented here in a hypnotic setting of the traditional German carol Es ist ein Ros entsprungen, sung here in Sandström’s native tongue; Prætorius’ original music is turned into clouds of notes shifting in space, finally coalescing into words—it’s a mesmerising performance. Read more

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HCMF 2008: Markus Trunk, Richard Barrett, John Cage

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Returning to the (more recent) archives, here are some interesting works taking a look back at the 2008 Huddersfield Contemporary Music Festival.

Markus Trunk‘s Parhelion is most striking for its extreme delicacy; after a while, the prominent celesta actually starts to sound loud. The material appears as though formed from gas, its opening textures swiftly dissipating into soft whisps of chord that engage and beguile the ear. This sort of ostensible simplicity requires its own kind of virtuosity—a single note played out of place, or too loudly, would irrevocably rupture its surface—and Apartment House deliver Trunk’s vision with flawless clarity. There really isn’t enough music like this around at the moment. Trunk’s music also featured in the hands of plus-minus ensemble, who performed Raw Rows. At first, it seems to bears no resemblance to the other work, being a highly rhythmic working out of scalic patterns. In its own way, though, it ploughs an equally ascetic, single-minded furrow, the scales gradually being stretched out to the point where every note becomes a minutely significant event. This is material that, again, requires the players to demonstrate virtuosity of time and coordination in order for these sparse, staccato notes to be perfectly synchronised—it’s exciting that music of this kind should be simultaneously so simple and so complex. Read more

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Size isn’t everything (but it is something): Sorabji – Organ Symphony No. 2

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“Too many notes”, complained Emperor Joseph II to Mozart in response to his opera Le Nozze de Figaro; quite how he would have reacted to the concert that took place a little over a week ago in Glasgow University Chapel – featuring the Finale from Kaikhosru Shapurji Sorabji‘s Second Organ Symphony, a single movement lasting a little over three hours – is anyone’s guess. Having said that, the temptation into which many people fall when speaking about Sorabji’s music is precisely to get hung up on size. Much is made of the colossal time spans his works occupy, and the virtuosic demands of the material, in addition to the composer’s well-known reclusiveness and apparently disagreeable manner towards – well, pretty much anyone really. Such preoccupations do little to promote an active engagement with the music itself, seeming to regard mere quantity as a feature of merit, confining Sorabji’s fascinating output within a small, narrow and woefully inadequate box of clichés, half-truths and irrelevances. Read more

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New electronic work: [ULTRA]—infra

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Self-promotion time once again. Today i finished a new electronic composition, [ULTRA]—infra, a second work in the series begun last November by Negative Silence (detail). It’s being premièred next Monday at a concert of electronic music at Birmingham Conservatoire. i know many (most?) readers of 5:4 aren’t in the UK, but if any of you do happen to be in the area next Monday evening (if so, let me know), you’d be very welcome to come along; starts at 7.30pm. A little more info about the piece here.

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Festival of Nine Lessons & Carols (King’s College, Cambridge): Lennox Berkeley & Judith Weir

Posted on by 5:4 in Advent & Christmas, Premières, Seasonal | 7 Comments

HAPPY CHRISTMAS!. To celebrate the feast, here’s a selection from the renowned Festival of Nine Lessons and Carols that took place yesterday at King’s College, Cambridge.

After the fifth lesson came I sing of a maiden by Lennox Berkeley, a sublime creation, its ostensible simplicity containing some lovely harmonic piquancy. Berkeley was the first composer to be commissioned to write a new anthem for this service, back in the early 1980s, beginning an admirable tradition of commissioning a new work each year. Read more

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Advent Carol Service (St John’s College, Cambridge): James MacMillan, Simon Beattie, Jonathan Dove, John McCabe – The last and greatest herald (World Première) & Peter Wishart

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A new church year is upon us, and with it comes the first choral broadcast for the season of Advent. Yesterday, Radio 3 broadcast the Advent Carol Service live from the Chapel of St John’s College, Cambridge, the choir of which has a deservedly high reputation. They’re also innovative; about 6 weeks ago, they became the first choir of this kind to make their services available as weekly webcasts; for more information go here.

The service featured several interesting contemporary pieces. James MacMillan‘s A New Song is one of his most emphatically melodious anthems; its blend of high solemnity yielding to radiance is just right for Advent. Simon Beattie‘s Advent Calendar is broadcast here for the first time; it’s an interesting piece, not entirely successful, as it lacks a clear sense of direction, but with some nicely-judged poignant harmonic writing. Jonathan Dove‘s I am the day is a simple, delicate confection with a curious patchwork quality, weaving fragments that each sound familiar yet become something new; i like it. Read more

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James MacMillan – String Quartet No. 3 (World Première)

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Here’s a recording of James MacMillan‘s most recent work, the String Quartet No. 3, premièred by the Takacs Quartet on 21 May, at the QEH in London. i don’t know either of MacMillan’s previous two quartets, but this new addition is a fairly ambitious work. MacMillan speaks in his preliminary discussion (illustrated with examples by the Takacs) of the melodic, cantabile quality of the material, and this is highly evident throughout, especially in the lyrical first movement, the principal theme of which has a distinct Jewish flavour. Strange, disjunct gestures begin the second movement, ominous and disquieted. From them, melodic fragments appear, many of them cast from a similarly disquieted mould: the viola embarks on a short restless journey, buzzing like an angry bee; later all four combine to sound like a heavily wheezing concertina. On a couple of occasions, dance figurations try to assert themselves, only to be thrust brusquely back into the maelstrom and promptly dissipated; the movement ends much as it began, one of MacMillan’s most fascinatingly strange creations. The lyricism returns for the final movement, which is the most conservative and familiar of the three. It is all melody, led powerfully by the first violin, charting a trajectory into the most achingly high regions of its E string, its three companions forming a supportive trio at its base. At the summit, it repeats plaintively, and everything turns harmonic, fading into transparency. Read more

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Choral Evening Prayer (Buckfast Abbey): music by Philip Moore

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It’s been a while since i’ve featured Choral Evensong on here; they really haven’t been terribly interesting of late. However, today’s service of Choral Evening Prayer took place during the annual Exon Singers Festival from Buckfast Abbey in Devon. Buckfast is a place close to my heart; i’ve been there a number of times, and it’s a sublime, gorgeous place, with spacious gardens populated by a plethora of types of lavender, and its shop selling monastic goods from around the world, including the renowned and highly-charged liqueur Chartreuse. A thriving monastery, it’s not surprising that the worship from Buckfast should be measured and thoughtful, offered with the greatest of care, making it a dual delight for the listener, both in terms of style and content.

Focus of the service was on composer Philip Moore, former director of music of York Minster. Read more

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Ensemble Exposé: Brian Ferneyhough – Incipits (UK Première) plus Davies, Xenakis, Barrett, Dillon and Sørensen

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Here’s a real treat for those who prefer their contemporary music to be at the more intellectually rewarding end of the continuum. It’s music from a concert given at the ICA in London by Ensemble Exposé (plus violist Garth Knox), under the direction of Roger Redgate, who also discusses the music being performed. The concert explored works by diverse composers, from the relatively gentle and meditative soundscapes of Paul Davies and Bent Sørensen to the more densely intricate textures of James Dillon and Richard Barrett (Barrett originally co-founded the ensemble with Redgate); Xenakis, as ever, stands apart, uniquely indescribable. It culminated in the first UK performance of Incipits by one of the greats of contemporary music, Brian Ferneyhough, a fascinating work exploring different ways to start a composition. Also included is a lengthy interview with the composer including a number of other short pieces. Read more

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Messiaen Centenary Celebration, Bath Abbey: Bach, Dhafer Youssef, Messiaen

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Last Wednesday, the Beloved and i were at Bath Abbey, for a “Messiaen Centenary Celebration” given as part of the Bath Festival. The highlight of the concert was Messiaen‘s rarely-performed Trois Petites Liturgies de la Présence Divine, preceded by two works, a keyboard concerto by J. S. Bach, and the world première of Les Ondes Orientales by Dhafer Youssef. Thankfully, the concert was recorded by the BBC, and broadcast yesterday. Joanna MacGregor is the artistic director of the Bath Festival, so she was prominent in all three pieces. The Bach concerto is spirited and fun, with some lovely string writing, particularly in the slow middle movement; the solo part is highly florid, and almost continuous, but Joanna MacGregor tackles such things with incredible ease. In fact, she appeared so relaxed with the material that her communicative/reflective facial expressions seemed to become rather exaggerated (think Natalie Clein, but not so comic); all the same, it was a refreshing opener, a kind of musical sorbet. Read more

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Thomas Adès – These Premises Are Alarmed, Concerto Conciso, Asyla (World Premières)

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i’ve been interested in Thomas Adès‘ work for many years, so here are recordings of the world première performances of three of his compositions. The tale behind his miniature orchestral work These Premises Are Alarmed is interesting, if disappointing. Adès was commissioned to compose a piece for the series of three inaugural concerts at Manchester’s Bridgewater Hall, which opened in September 1996 (i was fortunate enough to attend these concerts). For some time beforehand, the word was circulated that Adès was at work on a piano concerto, which—in Classical fashion—he would direct from the keyboard. As the concert approached, however, rumours began to fly that Adès was having difficulties with the piece and things seemed to be getting rather desperate. Eventually, all that could be salvaged from the project was a mere three minutes of music, a pretty meagre offering (George Benjamin, also commissioned for these concerts, wrote Sometime Voices, a substantial work). It’s difficult to be too praiseworthy about These Premises Are Alarmed; the orchestration is interesting and lively, but there’s the ever-present sense that this is material pieced together in haste. Nonetheless, it’s a testament to Adès’ abilities that the result has such aplomb. Read more

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James MacMillan – Symphony No. 3 ‘Silence’ (Scottish Première)

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Here’s the Scottish première of James MacMillan’s Symphony No. 3 ‘Silence’, broadcast last Tuesday. Don’t be taken in by that subtitle; this piece does the exact opposite of “what it says on the tin”. MacMillan is more concerned with the perception – within the human experience of tragedy and cruelty – of God gone ‘silent’, inspired by the writings of Shusaku Endo and encapsulated in Christ’s cry from the cross, “My God, my God, why have you forsaken me?”. Far from being silent, the symphony is, in fact, a work brimming with unrest, of Mahlerian scope and with suitably collossal tutti passages (fittingly, the remainder of the concert consisted of Mahler’s Das Lied von der Erde, the two works sitting well beside each other). Read more

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