Proms

Proms 2017: Harrison Birtwistle – Deep Time (UK Première)

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It’s easy to believe – even take for granted – that we ‘get’ Harrison Birtwistle. He represents a lot of things to a lot of people, but the tendency is to conflate the man and his music, mix in stereotypes drawing on his age and northern heritage, and arrive at a surly amalgam that, crudely stated, neither gives nor takes any shit. Very many years ago, as a callow student volunteering at the Cheltenham Music Festival, i was charged with attending to Birtwistle during his time in the town, which ultimately consisted of a brief greeting followed by my being told in no uncertain terms that he did not need looking after, and off he went. So i certainly know all about the brusqueness of the man, but his music has always been another, entirely separate, matter. To me, its primary characteristics are an earthiness, an inclination to sing in the midst of turbulence, a strong sense of persistent determination, and an urgent, passionate humanity yearning to be unleashed no matter what. These qualities have permeated his works performed at the Proms in recent years – particularly The Moth Requiem, the Concerto for Violin and Orchestra and Angel Fighter – and they manifest again in his most recent orchestral work, Deep Time, given its first UK performance at the Proms last Sunday.

That being said, there were occasions during the work where i found myself wondering if what i was hearing really was by Birtwistle. But not early on, the music establishing a dark admixture of rumble and grumble within which nascent ideas take shape. It’s a beautifully measured and arresting introduction, the strings clambering up and out of this claustrophobic gloom with such oomph that it almost seems as though, two-and-a-half minutes in, we’re already reaching a climax. But this is a mere overture to the more complex behaviour that forms the firmament of Deep Time. Birtwistle’s programme note speaks of the piece sitting alongside The Triumph of Time and Earth Dances due to its twin temporal and geological concerns. This finds expression in a fascinating underlying order that evidently has a pulse at its core, though sufficiently subterranean that it’s often masked, inaudible or simply forgotten about. Yet it finds expression in another way too, in a remarkable sense of architectonic plasticity, as though the bedrock of the piece were warping and stretching, with concomitant effects occurring on the surface. On this surface, when pulse isn’t pushing through, a plethora of melodies break out (those from a soprano sax are especially striking), invariably short-lived, broken up by unpredictable surges and lunges or multi-layered textures from the full orchestra. Read more

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Proms 2017: pre-première questions with Roderick Williams

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Today’s Proms première is by renowned baritone Roderick Williams, whom many may not have realised – as i didn’t, until relatively recently – also has a sideline in composition. In preparation for the first performance of his new work Là ci darem la mano at Cadogan Hall this afternoon – in a concert otherwise devoted to the music of Monteverdi – here are his answers to my pre-première questions. Many thanks to Roderick Williams for his responses and to Francesco Bastanzetti at Groves Artists for acting as go-between. Read more

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Proms 2017: Tom Coult – St John’s Dance (World Première)

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And we’re off: the first performance of Tom Coult‘s new orchestral work St John’s Dance got the 2017 Proms season up and running last night, courtesy of the BBC Symphony Orchestra conducted by Edward Gardner. i’ve only really scratched the surface of Coult’s music, having heard two earlier works in the last couple of years, Codex (Homage to Serafini) and Spirit of the Staircase, premièred in 2014 and 2016 respectively. They’re both interesting pieces (i’ll aim to feature them on 5:4 when i get a chance), but the thing that stood out most in them was Coult’s very particular approach to pace and direction. i need to qualify that by saying my initial impression was that, in each case, these aspects seemed a bit off, but returning to them since, i’ve wondered whether in fact Coult actually succeeds in pulling it off through a mixture of audacity and simple unpredictability. Read more

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Proms 2017: pre-première questions with Tom Coult

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

Tonight, this year’s Proms season kicks off in earnest, and once again i’ll be reviewing all of the contemporary pieces receiving world or UK premières. As an extra feature this year, i’ve interrogated some of the featured composers with a short series of questions, the answers of which hopefully will provide a little extra insight into each composer and their music, both generally and specifically with regard to the piece being premièred at the Proms. First up is British composer Tom Coult, whose new work St John’s Dance gets the season up and running this evening. Many thanks to Tom for his responses; you can also read the programme note of his piece after the questions. Read more

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Proms 2017: new essay on Sounds Like Now

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The 2017 Proms season is fast approaching, and in anticipation of this i’ve contributed an essay to the July edition of online journal Sounds Like Now. The essay focuses specifically on the way contemporary music has been and continues to be represented at the Proms, exploring a number of themes with which regular readers of 5:4 will be familiar, concerns of both quantity and equality – particularly the representation (or otherwise) of women and the involvement (or otherwise) of electronics – all placed within the context of why the Proms was originally founded.

Sounds Like Now is subscription only, but subscribers can find the essay here.

John Tavener – Cantus mysticus (UK Première)

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i’ve been exploring the extensive 5:4 archive of recordings of premières recently, listening to both brand new and older works, and was pretty startled to encounter Cantus mysticus, by the late John Tavener. A work for clarinet and soprano soloists with a string orchestra of violins and cellos, it was composed in 2004, first performed the following year at the Cuenca Religious Music Week, in Spain. Three years later it received its UK première at the Proms, and in 2010 its first performance in the USA, but for the last seven years it’s sat dormant. Considering Tavener’s popularity both during his latter years and since his death, this seems strange – particularly as Cantus mysticus lasts only eight minutes – though it possibly has something to do with the very peculiar nature of the piece.

For much of the last two decades of his life, Tavener’s compositional practice was relatively standardised and predictable. If it had anything approximating an evolution, it was more to do with extra-musical than musical concerns, as Tavener shifted somewhat away from the more tangible (i.e. readily explainable) aspects of religious dogma in favour of ‘esoteric metaphysics’. (This evolution would finally move into an intense exploration of human suffering in the wake of Tavener’s own close call with death in 2007.) Personally speaking, this late shift came as something of a relief, though primarily because the particular combination of the abstract and the abstruse embodied within esoteric metaphysics render it far more inert (and that’s really not intended as a euphemism for ‘meaningless’) than Tavener’s more ostentatiously overt theological outlook of earlier years. Put more crudely – though no less accurately – this shift removed some of the unctuous sanctimoniousness of those earlier works, which from an extra-musical perspective, makes them very much more palatable. Read more

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Proms 2017: looking forward

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

It’s that time again: today all the details of this year’s Proms season have been revealed. From a contemporary music perspective, there are 15 world premières – from Tom CoultRoderick WilliamsLaurent DuruptJulian AndersonBrian EliasJudith WeirPhilip Glass/Ravi Shankar (i know, just don’t), Michael GordonCheryl Frances-HoadJonathan DoveDaniel SaleebGerald Barry, Hannah KendallCatherine Lamb and Lotta Wennäkoski – and nine European/UK premières – from Harrison BirtwistlePascal DusapinAnders HillborgJames MacMillanMark-Anthony TurnageThomas LarcherAndrea Tarrodi, Erkki-Sven Tüür and Missy Mazzoli. Lots of men in those lists: women composers account for a quarter of the premières, which is an improvement on last year but otherwise not in any way an admirable statistic.

Aside from these, John Adams‘ 70th birthday year is being marked with five performances throughout the season (none of them premières, which is surprising, but in its own way a relief), there’s an event both titled and celebrating “The ‘Godlike Genius’ of Scott Walker” (a title that i fully endorse), the London Contemporary Orchestra will be teaming up with Actress for an evening of improvised who-knows-what alongside Exaudi, and there’s a sprinkling of recent works from, among others, Mark Simpson (a chance for London finally to hear The Immortal), David Sawer, Francisco Coll, Thomas Adès, David Lang, Julia Wolfe, Louis Andriessen, Kate Whitley, Wolfgang Rihm and Rebecca Saunders. Another list with a lot of men.

The full run-down of contemporary music featured in this year’s Proms season is shown below (**=world première, *=European/UK première); the number of the concert – or the venue, when outside the Royal Albert Hall; PCM = Proms Chamber Music – is shown in square brackets, and clicking on the date will take you to the relevant page on the BBC website. i leave it up to you to decide whether the title of this blog post is accurate. Read more