Premières

Proms 2011: Graham Fitkin – L & Cello Concerto (World Première)

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The music of Graham Fitkin has been featured twice this week at the Proms, both occasions in the hands of cellist Yo-Yo Ma. First came L, a work for cello and piano composed for Ma’s 50th birthday (commissioned by Kathryn Stott, who accompanied the performance), while this evening’s Prom brought the world première of Fitkin’s Cello Concerto. Read more

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Proms 2011: Anders Hillborg – Cold Heat (UK Première)

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Monday evening’s Prom brought one of the pieces i’ve most been looking forward to hear in this year’s season, the first London performance of Cold Heat by Swedish composer Anders Hillborg. Few composers in recent times have revivified the Straussian idea of the symphonic poem more effectively than Hillborg, although his approach avoids overtly programmatic ideas. Hillborg prefers more abstract but no less evocative subject matter, and this train of compositional thought is continued through the fifteen minutes of Cold Heat, which was performed by one of the groups who commissioned the work, the Tonhalle Orchestra Zurich, directed by David Zinman. Read more

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Proms 2011: Stevie Wishart – Out of this World (World Première)

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As on previous occasions, new music featured strongly in last Saturday’s Proms Matinee from the Cadogan Hall, this time including the world première of a new work by Stevie Wishart: Out of this World, composed for the BBC Singers.

Earlier in the concert, music by Hildegard of Bingen had been heard, and it’s to Hildegard that Wishart has turned for inspiration, setting four of her texts, texts for which no extant music by Hildegard herself survives. Thankfully, pastiche is not on Wishart’s agenda, although various influences do make themselves felt at points through the piece. Opening song ‘O word of the Father’ is the most spare of them all, soft open vowels giving way to a cool and austere atmosphere in which the upper voices are silent. The male singers handle the chromaticism admirably, but the music could really do with the kind of acoustic Hildegard would have known; in the relatively echoless Cadogan Hall, some of the warmth is lost, and it sounds more severe than it actually is. The brief second song ‘O God eternal’ is much more engaging, with strong interaction between the upper and lower voices, the latter of which initially offer brief, strange sounds beneath, demarcating the pulse. It develops into a distinctly French kind of sonority, at times quite strongly redolent of Poulenc. Read more

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Proms 2011: Kevin Volans – Piano Concerto No. 3 (World Première)

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If one thing has dominated the premières at this year’s Proms, it’s the presence of the concerto; thus far, we’ve heard no fewer than six (Dalbavie, Carter, Holloway, Holt, Larcher and Aperghis), with more coming in the days ahead. Monday’s Prom brought yet another concerto into being, Kevin VolansPiano Concerto No. 3, performed by Barry Douglas with the BBC Symphony Orchestra, conducted by Thomas Dausgaard.

The opening few minutes give a clear indication of what lies ahead, the piano presenting a stabbing ostinato that immediately infects the orchestra, responding in glittering accented chords. The piano then dissolves into a fluid, grace note-strewn passage, bringing proceedings briefly to a halt; starting up again, the sections of the orchestra now take turns to predominate. This is the essence of the piece, and also its unifying aspect, since Volans is not concerned here with conventional notions of material development. He has very different ideas, and indeed, his working method—each day to continue where he’d left off, making no amendments to previous work—is audibly etched into the grain of the music. It neither develops nor evolves; in a sense, it unfolds, but even this doesn’t quite fit; perhaps all one can say is that it just happens, swiftly passing from idea to idea with only the barest of constants. There are occasions when Volans allows himself to revisit earlier material, but for the most part, this concerto is a flight of fancy, restlessly keen to press on, with barely a glance behind. Read more

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Proms 2011: Colin Matthews – No Man’s Land (World Première)

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Sunday night’s Prom brought the world première of a new work from Faber’s finest, Colin Matthews: No Man’s Land for tenor and baritone soli and orchestra. Commissioned by Richard Hickox immediately prior to his death in 2008, it was presented by the orchestra Hickox himself formed 40 years ago, the City of London Sinfonia, directed by Stephen Layton, with soloists Ian Bostridge and Roderick Williams. Matthews’ text is by Christopher Reid, recounting an exchange between the ghosts of two soldiers, Captain Gifford and Sergeant Slack, whose bodies hang on barbed wire in no man’s land.

On the one hand, being charitable, perhaps the context was inopportune, coming as it did just a couple of days after Sir Harrison Birtwistle‘s brilliant Angel Fighter (also a work featuring two vocal soloists). But that can only go so far to mitigate the dreadful way with which this piece comports itself; far from striking the dignified stance that Matthews presumably intended, it was instead slowly unveiled as a ramshackle, shoddily stitched together patchwork of wafer-thin attempts at evocation. We’re fortunate—no, we’re blessed—in recent times to have seen the slow, steady rise of hauntology, a unique kind of musical aesthetic that can powerfully reach into the past and reflect it back at us with genuine sincerity and authenticity, stained and sullied (as it must be) by the gulf that separates then from now, and by our increasingly tenuous grasp on increasingly distant things. But what Matthews gives us in No Man’s Land is little more than a contrived collection of pastiche confectionary, coloured so as to appear moderately grim and stone-faced. Read more

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Proms 2011: Peter Maxwell Davies – Il rozzo martello, Georges Aperghis – Champ-Contrechamp (World Première) & Harrison Birtwistle – Angel Fighter (UK Première)

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Last Saturday’s Proms matinee was devoted to new music, featuring no less a line-up than the BBC Singers and the London Sinfonietta, both conducted by David Atherton.

The concert opened with Peter Maxwell DaviesIl rozzo martello, a sombre and rather austere choral work that comes across as older than its mere 14 years would suggest. Unlike so many composers of contemporary choral music, Max is happily unequivocal in his mode of expression, but this also makes the piece a bit of a tough listen, so it benefits from repeated listenings, which ‘soften’ the ostensibly hard edges. It proves, at times, to be captivating; the opening, where overlapping plainsong-esque lines sustain their final note, gradually building a rich chord, is a rather magical way to start the piece, and it ends no less impressively, in a deliciously soft morass of lower voices. It’s often the male voices who have the most striking material, including a dense homophonic episode around halfway through, and some unexpected loud whispers towards the end. A difficult piece, no doubt, but given half a chance, an increasingly rewarding one. Read more

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Proms 2011: Thomas Larcher – Concerto for Violin, Cello & Orchestra (World Première)

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Last Thursday’s Prom was an all Austrian affair, opening with the world première of Thomas Larcher‘s Concerto for Violin, Cello & Orchestra; Viktoria Mullova and Matthew Barley were the soloists, pitted against the BBC Scottish Symphony Orchestra directed by Ilan Volkov.

Beforehand, one wondered if it might prove to be the most tantalising new work heard this year; alongside the twin soloists, Larcher has included a peculiar concertino quartet comprising accordion, electric zither, percussion and prepared piano (played by Larcher himself). Within minutes, though, it became abundantly clear that we were in very similar territory to that explored by Pascal Dusapin in his String Quartet/Concerto ‘Hinterland’/’Hapax’ three weeks ago. Throughout the first movement, Larcher, too, is hyperactive almost to the point of absurdity, but certainly well beyond the point of irritation. His material feels like the result of a large-scale collage, one put together from microscopic, barely-similar fragments. There are, admittedly, notions of unity in the movement—an occasional returring motif, and an oscillating chord progression redolent of film music—but they can do little to prevent the music from coming across as skittish and schizophrenic. Read more

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