Last Saturday’s Proms Matinee concert given by Birmingham Contemporary Music Group, conducted by Franck Ollu, featured several world and UK premières, which together gave one pause for thought with regard to the relationship between surface materials and their deeper impulsion. Their respective points of inspirational departure were extremely varied, encompassing a peripatetic storytelling cellist, an examination of a parasitic fungus and an intense miniature song-cycle.
Proms premières come in all shapes and sizes, and last week’s new works from HK Gruber and Hugh Wood were larger and more aspirational specimens. Scale and stature are different things, though, and despite their respective composers’ demonstrative ambition (and experience, composing veterans both), each of these pieces were hobbled by considerations that would have been less problematic in smaller-scale forms. Read more
Relatively few of the Proms premières include vocal elements, which makes Cheryl-Frances Hoad‘s new work From the Beginning of the World, first performed last Monday, a very welcome exception to the norm. Initially billed as ‘Homage to Tallis’, her piece was nestled amidst a concert otherwise dedicated entirely to the great man’s music, a context that throws down a pretty substantial gauntlet. For inspiration, Frances-Hoad turned to Danish astronomer Tycho Brahe’s detailed account of the “great comet” visible across Europe in 1577. Insodoing, she is appealing both to an innate sense of wonder as well as to more polemical ends, setting words with connotations pertaining as much to present-day resource-depletion and asinine political shenanigans as to 16th century shock and awe. Read more
Right, let’s get (belatedly) cracking. For a few years, the annual Proms season began with a première, which was nice but reduced the piece (or, at least, reduced composers’ aspirations) to a mere curtain-raiser. Gary Carpenter‘s Dadaville, which received its first performance in the opening Proms concert last week, did not begin the concert (that task fell to Nielsen), but the piece would in fact have worked wonderfully well as a concert-opening overture, but one with considerable chops and ambition. Read more
It’s that time again; the 2015 Proms season has today been unveiled, and once again offers more than a few treats for lovers of new music. That’s putting it extremely mildly; in truth, the amount of contemporary music in this year’s concerts is actually rather jaw-dropping, with no fewer than 20 world premières, plus a host of European and UK first performances and a healthy additional cluster of recent works. Having been temporarily usurped in 2014, the tradition of a world première in the opening concert has been restored, the honour this time falling to Gary Carpenter, whose new work Dadaville i would expect to provide something more meaty than the ephemeral offerings of the last few years. Encouragingly, a third of the first performances are works by women composers, including a Tallis homage from Cheryl Frances-Hoad, ensemble pieces by Shiori Usui and Birmingham Conservatoire alumnus Joanna Lee, a piano concerto from Anna Meredith, something Nordic-inspired from Alissa Firsova, and new orchestral works by Tansy Davies and Eleanor Alberga, whose Arise, Athena! will kickstart the Last Night. Read more
Today’s work in my ongoing series on the subject of death is not contemporary, not in the least, but is one which nonetheless still sounds as vital and as daring as it did when it was premièred 177 years ago. The Grande messe des morts was Hector Berlioz‘s epic response to a commission to write a setting of the requiem mass in commemoration of soldiers who had perished in the 1830 French Revolution. Despite being only his fifth published work, the key word in its title is ‘grande’, as it utilises forces on a scale unprecedented in 1837 and almost never equalled since. Berlioz’s orchestral line-up is huge enough by itself, including 8 bassoons, 12 horns, 16 timpani, 10 cymbals, 4 tamtams, and a string section of 108, but this is expanded further with four separate off-stage brass brands (38 extra players) distributed around the performance space; the addition of a choir numbering at least 200 makes for an assembly of performers rather mind-boggling to imagine. And imagine is what most people have to do with this piece; i was fortunate to experience a performance in The Hague many years ago, but for obvious reasons the Grande messe des morts for the most part remains an under-performed curiosity, famous more for its gargantuan size than for the music itself. Read more
As it’s Hallowe’en, with All Saints’ and All Souls’ Days closely following (and Remembrance Day a little after that), i’m going to tap into the prevailing temporal undertone and explore a few pieces concerned one way or another with the subject of death. To begin, a piece that is wholeheartedly concerned with that subject—and which is also, i think, highly suitable in character to Hallowe’en itself, George Crumb‘s Songs, Drones and Refrains of Death, composed over a six-year period, completed in 1968. For his theme, Crumb turned once again to the poet whose words he set repeatedly through the 1960s, Federico García Lorca, utilising a curious ensemble comprising baritone, electric guitar, electric double bass, amplified piano/electric harpsichord and two percussionists. As is usual for Crumb, the players are all compelled to go beyond their regular call of duty, with everyone playing some percussion as well as singing at various points. Read more