Proms

Proms 2016 – looking forward (but not much)

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i’ve recently returned from a trip to Tallinn to experience some of the annual Estonian Music Days (my reviews can be read over on Bachtrack). In a bit of spare time one afternoon, i finally got around to examining the forthcoming Proms season, and i don’t think it’s entirely due to the fact i was in the midst of a genuinely bold, experimental festival that, from the perspective of new music, Proms 2016 seems so poor bordering on lamentable. In terms of quantity, contemporary music – always a tertiary concern at the Proms after 1) established repertoire and 2) the increasingly desperate need to appear ‘trendy’ – isn’t represented too badly, with 52 works scattered throughout the season (only six of which are by women composers), including 13 world and 10 UK premières. But the choices, particularly in the case of the world premières, are appallingly predictable and narrow-minded, and the less said about the decision to perform Steve Reich in Peckham’s Bold Tendencies car park the better, as it may be an all-time low for the Proms, clearly trying to imitate LCMF. It’s hard to believe the decision-makers have a meaningful grip on what’s actually going on in contemporary music; certainly, if this is indicative of David Pickard’s vision for the Proms, that vision is suffering from an extreme case of myopia. Read more

Proms 2015: the premières – how you voted

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Many thanks for all of your votes on this year’s Proms premières. Having closed the polls yesterday, i’ve crunched the numbers a few different ways and here’s a summary of what you, my esteemed readers, had to say about this year’s offerings.
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Proms 2015: Eleanor Alberga – Arise, Athena! (World Première)

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New music at the Proms, and the season itself, came to an end at yesterday’s Last Night, with the world première of Jamaican-born composer Eleanor Alberga’s brief concert-opener Arise, Athena!. According to the composer, the piece (ahem) arose from a desire to have a female theme, Alberga drawing on the Greek goddess Athena for inspiration, citing her connection (among many others) to “wisdom and the Arts”.
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Proms 2015: B. Tommy Andersson – Pan & Guy Barker – The Lanterne of Light (World Premières)

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Homage, allusion and evocation have all been heavily foregrounded in many of this year’s Proms premières, and the most recent pair are in no way an exception. Swedish composer B. Tommy Andersson has turned to the Greek god Pan for inspiration in his eponymous latest work for organ and orchestra (not, according to Andersson, a concerto) while British Jazz musician Guy Barker has turned to an early 15th century tract classifying the seven deadly sins as the basis for his new trumpet concerto The Lanterne of Light. Read more

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Proms 2015: Christian Mason – Open to Infinity: A Grain of Sand (UK Première)

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One of the smaller Proms premières, Christian Mason‘s Open to Infinity: A Grain of Sand was commissioned as a part of this year’s 90th birthday celebrations for Pierre Boulez. Fittingly, its world première was given by Boulez’s very own Ensemble Intercontemporain at the Lucerne Festival; its first UK performance at the Proms, a few days later, was given by the London Sinfonietta, conducted by Thierry Fischer. Mason describes the work as having a twofold connection to Boulez, first in terms of the work’s engagement with twin perspectives, focussing on both intricate detail and broader structural durations (the title derives from this, drawing on the opening line of Blake’s Auguries of Innocence: “To see a World in a Grain of Sand”), as well as the use of crotales, involving all 15 players, a reference to Mason’s recollections of Boulez’s orchestral work Le Visage nuptial.
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Proms 2015: Anders Hillborg – Beast Sampler (UK Première), Raymond Yiu – Symphony & Alissa Firsova – Bergen’s Bonfire (World Premières)

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The latest spate of Proms premières have made for an interesting contrast in terms of abstract versus concrete ideas. At the former end of the continuum—where else would you find him?—was Anders Hillborg and his latest orchestral piece Beast Sampler; at the latter end was Raymond Yiu‘s Symphony, a large-scale work for countertenor and orchestra; somewhere in between was Bergen’s Bonfire, a new symphonic poem from Alissa Firsova.

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Proms 2015: Michael Finnissy – Janne (World Première)

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Three years ago i remarked how the performance of Michael Finnissy‘s Piano Concerto No. 2 was only the composer’s second appearance at the Proms, opining that “one can only hope he will be much better represented in years to come; he is truly one of our best”. It’s therefore wonderful that Finnissy has been commissioned for this year’s Proms season, producing a work that forges a connection of sorts with Sibelius, whose music occupied the rest of the concert. Titled after Sibelius’ affectionate nickname, Janne is somewhat special in Finnissy’s output, as it is only the ninth time that he has written for orchestra, a curious fact in itself for a composer whose worklist currently comprises in excess of 320 pieces. Having hitherto flitted between large and chamber-size orchestras, for Janne Finnissy has utilised the same modest forces used by Sibelius in the brace of symphonies (numbers 3 and 4) performed either side of it.
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