Proms

Proms 2013: John McCabe – Joybox (World Première)

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

Last Thursday’s Prom saw the world première of a piece that went through no little trial to be completed. While working on Joybox, with only 40 bars remaining to be composed, John McCabe was struck down with a brain tumour; for many people that would be that, for the time being at least, but McCabe rather impressively slogged on through his subsequent period of treatment to ensure the work was ready on time. Quite apart from anything else, kudos. For inspiration, McCabe turned to an experience at an arcade in Japan, “full of slot machines (one-armed bandits) playing widely different musical jingles, all going on simultaneously but independently. Eventually I seemed to perceive a kind of musical structural pattern to the babel of noise, and this gave me the idea for what I hope is an ‘entertainment’ piece”. This first performance was given by the BBC Philharmonic conducted by Juanjo Mena. Read more

Tags: ,

Proms 2013: Sean Shepherd – Magiya (European Première)

Posted on by 5:4 in Premières, Proms | 2 Comments

Just over a week ago, the Proms was introduced to a brand new orchestra, the National Youth Orchestra of the United States of America, bringing to an end their inaugural concert tour. Having come via Moscow and St Petersburg with Valery Gergiev at the helm, and with works by Tchaikovsky and Shostakovich featured in the concert, it was perhaps not surprising that composer Sean Shepherd would find Russia a dominating inspirational force. Shepherd’s new work, Magiya (Russian for ‘magic’), seeks to tap into the spirit of (in the composer’s words) “the great tradition of the Russian overture” as well as its narrative impetus, “a specifically Russian sense of magic … in the stories, folklore and literature (old and new) of the country, a kind that often gets no explanation or justification; a ‘normal’, everyday magic”. Read more

Tags: ,

Proms 2013: Thomas Adès – Totentanz (World Première)

Posted on by 5:4 in Premières, Proms | 7 Comments

Hot on the heels of the large-scale work of Helmut Lachenmann’s a few days ago, tonight’s Proms première was even more ambitious, Thomas AdèsTotentanz. Composed for a large orchestra with mezzo-soprano and baritone soloists, Adès has set to music a sequence of German verses known as the Lübecker Totentanz, originally composed in 1463 to accompany an artwork created the same year at the Marienkirche in Lübeck by Bernt Notke. Sadly, the artwork was destroyed during World War II, but images of it remain, as do the texts, depicting death interacting with a collection of diverse characters, including a monk, a king, a doctor, a knight, a merchant, a maiden and even the pope, interactions that inevitably result in terrorised laments at the protagonists’ prospect of impending doom (the entire text, in its original Middle Dutch with an accessible English translation, can be read here; a high resolution photo of the wonderful original artwork is available here). Clocking in at just over 30 minutes—considerably less than the inflated estimate of 45 minutes in the Proms guide—Totentanz is the latest in a succession of works that together demonstrate Adès’ innate and enormous gift at writing for voices, particularly in the context of a large orchestral palette. Few conductors tackle his music better than Adès himself, and it was he who directed the première, performed by Christianne Stotijn and Simon Keenleyside (who famously portrayed Prospero in Adès’ opera The Tempest) with the BBC Symphony Orchestra. Read more

Tags: , ,

Proms 2013: David Matthews – A Vision of the Sea (World Première)

Posted on by 5:4 in Premières, Proms | 2 Comments

Down the road in my old stamping ground of Cheltenham, there’s an art exhibition regularly to be found in the town’s sumptuous Imperial Gardens. The exhibition is for those with an urge to put paintbrush to canvas, resulting in a desultory cluster of dog portraits, depictions of Cotswold stone houses festooned in technicolour flora, landscapes dripping with more water than colour, pastel cloudscapes, a few rash stabs at abstract expressionism and—incongruously, considering the town’s distance from it—paintings of the sea. Perhaps you can see where i’m going with this. There are, admittedly, occasional gems to be found amidst the the borrowed imagination, the second-rate technical skill, the pastiche sensibility and the instinct for superficial gratification, but it’s rare for even these works to escape the pull of their less ambitious companions. Memories of this exhibition came flooding back as i sat through the world première from last night’s Prom, David MatthewsA Vision of the Sea, performed by the BBC Philharmonic under Juanjo Mena. Read more

Tags: ,

Proms 2013: Helmut Lachenmann – Tanzsuite mit Deutschlandlied (UK Première)

Posted on by 5:4 in Premières, Proms | 6 Comments

There is, it seems to me, a distinct sense of double-edged sword to the territorial (as opposed to world) premières that feature in each year’s Proms. It’s encouraging, of course, that such fascinating works are introduced to British audiences, but many’s the time one can’t help wondering why on earth they took so long to get here. Last year’s most glaring example was Michael Finnissy’s Piano Concerto No. 2, which took 35 years to be heard here, while the UK première at last night’s Prom, Helmut Lachenmann’s Tanzsuite mit Deutschlandlied, entered the world at the Donaueschinger Musiktage in 1980. Nonetheless, it was most definitely worth the wait.

Both aspects of the title are, as one would expect from Lachenmann, far from obvious. As far as the ‘tanzsuite’ (dance suite) is concerned, the work is structured in five broad parts that contain numerous smaller sections (18 in total), many of which are named after well-known dances, although their characters as well as the points where they begin and end are often tough to discern. The ‘Deutschlandlied’, Germany’s national anthem—better known by its original opening line, “Deutschland, Deutschland über alles”—is even harder to make out, the famous melody barely recognisable at any point in the work. Composed by Joseph Haydn and incorporated into his ‘Emperor’ quartet, Lachenmann has perhaps acknowledged these origins by composing Tanzsuite mit Deutschlandlied for string quartet and orchestra. For this first UK performance, the Bamberg Symphony Orchestra, conducted by Jonathan Nott, was joined by the Arditti Quartet.

Read more

Tags: , ,

Proms 2013: Julian Anderson – Harmony (World Première)

Posted on by 5:4 in Premières, Proms | 2 Comments

Last night the 2013 Proms season began, as it now always does, with a world première from a mainstream composer. At the outset, i have to admit to a certain lack of enthusiasm for the occasion, due both to the recent track record of the opening night (Turnage and Weir in the last two years, both submitting relatively drab, safe pieces) as well as this year’s choice, Julian Anderson, a composer hardly renowned for much beyond accessible, occasionally quirky humdrummery. Anticipation was hardly heightened by Anderson’s pre-concert remark that there were only two options when writing a concert opener: “one is to write a piece that’s very loud and rather like a fanfare, and the other is to write a quiet and more meditative piece”. Seriously? Read more

Tags: , ,

Proms 2013: looking forward

Posted on by 5:4 in Proms | 4 Comments

This year’s Proms programme was unveiled today, and it makes for a typically interesting, if somewhat unadventurous, prospect. Both the season and the assortment of world premières will be kicked off, as usual, with a safe, mainstream choice, Julian Anderson. As for the rest, it’s impressive to see how large-scale some of these new works are going to be, with Thomas Adès, Naresh Sohal and Nishat Khan each contributing pieces touted to be of at least 40 minutes’ duration. The prospect of a new commission from Frederic Rzewski is rather mouth-watering too, as is a brace of new variations from John Woolrich and Tansy Davies, expanding the set originally composed in 1952 by Britten, Berkeley, Tippett and others. Like last year, the UK premières are in some ways more exciting, particularly those by Helmut Lachenmann, Stockhausen, Harrison Birtwistle and Peter Eötvös. Inevitably, it’s not a season devoid of potential humdrummery—works from both Colin and David Matthews, Philip Glass, Diana Burrell and George Lloyd may well present the wrong kind of challenge—but hopefully the season’s damp squibs will once again pale beside its triumphs.

The season starts on Friday 12 July; all of the information you might want or need can be found here. Good, bad or indifferent, i’ll be covering all of the premières on 5:4—be there or be Philip Glass.

« Previous   1 2 ... 6 7 8 9 10 11 12 13 14 15 ... 20 21   Next »