Premières

Proms 2010: Martin Matalon – Lignes de fuite (UK Première)

Posted on by 5:4 in Premières, Proms | 1 Comment

On Thursday evening, the Proms was treated to the UK Première of Argentinian composer Martin Matalon‘s Lignes de fuite (“Lines of convergence”), tackled with obvious relish by the splendid BBC National Orchestra of Wales.

The work opens, appropriately, with a single static line, passed between the horns, gradually coloured and fragranced by the percussion and woodwind; it’s a captivating introduction, pregnant with potential. Matalon doesn’t take any time whipping his material into shape, however; the music is positively marshalled around the orchestra. Special attention is given to the brass, who deal with their passages with brusque efficiency, while the strings (aided by celesta) strike more elegant poses, their lines almost coyly twirling their way upward. The structure is given space and more interesting shape by brief episodes where everything momentarily stops, a chance for everyone to get their bearings before launching off somewhere new. Read more

Tags:

Proms 2010: Graham Fitkin – PK (World Première)

Posted on by 5:4 in Premières, Proms | 4 Comments

Graham Fitkin found himself in a sea of populism and accessibility for the world première of his new work PK, performed at the Proms on Monday. The title of his work comes from a reference to the Cornish village of Porthcurno—home of the well-known Minack Theatre, and where, coincidentally, i just happened to be a couple of weeks ago. The piece is related to the village’s connections to early telegraphic communications (Marconi’s ground-breaking first transmission took place only a short distance away, at Poldhu, on the neighbouring Lizard peninsula), and Fitkin has therefore turned to Morse code as inspiration for his material. Read more

Tags:

Proms 2010: Albert Schnelzer – A Freak in Burbank (UK Première)

Posted on by 5:4 in Premières, Proms | Leave a comment

A week ago at the Proms—a more innocent time, before seemingly everyone started talking about Mark-Anthony Turnage’s new work for all the wrong reasons (Beyoncé) instead of the right ones (it’s crap)—came the first UK performance of Swedish composer Albert Schnelzer‘s wonderfully-titled A Freak in Burbank. Schnelzer is at pains to stress the connection he feels in this work to director Tim Burton, desiring it to exhibit a parallel kind of quirkiness to that found in Burton’s movies. The work began with Joseph Haydn as an inspiration, but while the size of the orchestra is of late 18th century dimensions, Haydn as an explicit point of reference is more-or-less lost entirely—Schnelzer’s half-apology that Haydn’s influence remains in “the use of G.P. and the transparent textures” isn’t terribly convincing. Read more

Tags:

Proms 2010: Mark-Anthony Turnage – Hammered Out (World Première)

Posted on by 5:4 in Premières, Proms | 1 Comment

Who’s this i see, shambling toward me like an unkempt Elvis Costello? why, it’s Mark-Anthony Turnage, the most unassuming pugilist in contemporary music. No-one likes to pick a fight in sound more than Turnage, and back in the early 1990s, when (thanks largely to Simon Rattle) he first became widely known, his orchestral pieces Three Screaming Popes and Drowned Out were an unexpected and very welcome intrusion into the largely rather staid fare then being offered up by more established composers. Two nights ago, his latest orchestral work, Hammered Out, was given its world première at the Proms.

Its opening sounds are fabulous—vast, radiant, angry chords, alternating with silly little rapid flurries; this is the Turnage one knows and loves. But then something beyond weird happens; bless my soul, can Turnage really be drawing on Beyoncé Knowles in the work’s first episode?! Back in early 2009, Knowles put out a stonker of a single called “Single Ladies”; a thin song, lyrically, but damn it was infectious, the absolutely scrumptious chorus buzzing with bass overkill. So what on earth is it doing here? The brief, brilliant opening of Hammered Out, we’re told, originates in Turnage’s forthcoming opera about Anna Nicole Smith (even more tawdry subject matter than Powder Her Face), a woman whose over-documented marriage was the subject of a great deal of grim squabbling, both ante- and post-mortem. The subtitle of Beyoncé’s song is “Put a ring on it”, so perhaps Turnage has his tongue in his cheek placing his quotation directly after the references to Anna Nicole Smith. Rational explanations aside, hearing Turnage’s attempt at transcribing it is seriously embarrassing (are those sleigh bells i hear, for goodness’ sake?!); orchestras just don’t ‘do’ dance music well—anyone else remember Adès’ “Ecstasio” from a few years back?—and i found myself squirming uncomfortably in my seat. Read more

Tags:

Proms 2010: Bent Sørensen – La mattina (Piano Concerto No. 2) (UK Première)

Posted on by 5:4 in Premières, Proms | Leave a comment

This year’s Proms has already had a couple of concerto premières, and the third, from Bent Sørensen, is one for piano and orchestra. Inspiration for the work, La mattina (Piano Concerto No. 2) is in part connected to Mozart, and Sørensen has opted for an orchestra of like size (no clarinets or heavy brass); while the piece is stated to have five movements, the transitions between them are difficult to discern, and it comes across more simply as an episodic, single-movement. Read more

Tags:

Proms 2010: Arvo Pärt – Symphony No. 4 ‘Los Angeles’ (UK Première) plus Mosolov

Posted on by 5:4 in Premières, Proms | 4 Comments

Last Friday evening’s Prom concert brought to the UK Arvo Pärt‘s first symphony in almost four decades; his fourth, subtitled (with both geographical and theological connotations) ‘Los Angeles’.

However, before Pärt’s work—in an imaginative, even provocative bit of concert programming—came a short work by the relatively obscure Russian composer Alexander Molosov: The Foundry. More boisterous than bombastic, Molosov’s work is a soaring paean to industry, not merely praising but actually personifying the relentless energy and force of contemporary machinery. The pace isn’t particularly quick, but the sheer power expressed in the music is rather daunting. Molosov’s orchestral writing is bold and exhilarating, the brass writing in particular (especially the eight horns, 2’05” into the recording) perhaps laying down the groundwork for the kind of material John Williams would compose in his film scores 50 years later. Its quality makes it all the more tragic that the remaining portions of Molosov’s ballet suite Steel (of which The Foundry was the opening movement) are lost. The conclusion of the piece brought to mind a portion of John Ruskin i read the other day (in ‘The Nature of Gothic’), where he writes of how one must “be satisfied to endure with patience the recurrence of the great masses of sound or form” and “bear patiently the infliction of the monotony for some moments, in order to feel the full refreshment of the change”; the conclusion of The Foundry feels almost as though Molosov’s ideas have left him, the music oscillating round and round and on and on, incessantly—only for the monotony to be thrilling broken in the work’s final flourish. Read more

Tags:

Proms 2010: James Dillon – La navette (UK Première)

Posted on by 5:4 in Premières, Proms | 4 Comments

As far back as 1988, in his seminal essay on what was, at the time, laughingly called ‘the New Complexity’, Richard Toop described the Scottish composer James Dillon—even within that narrow niche—as an ‘outsider’. Over two decades on, in Dillon’s sixtieth year, little as changed; he remains relatively unknown within the UK, but one imagines this hardly troubles him very greatly; in the pre-performance interview snippet, Dillon comments on how “my references [are] very much not the kind of obsessions that seem to be peculiar to Britain in particular…”. Having heard already in this year’s Proms a fair smattering of the kind of ‘obsessions’ that do occupy the British mainstream, it took no more than a few seconds of Dillon’s La navette (given its UK Première last Thursday) to become aware just how different is the kind of musical language with which he speaks. His is a musical world seemingly without limits, certainly without borders; Dillon’s fascination with all manner of worldwide customs and philosophies informs his work from its conception to its surface. Read more

Tags: