Valentine Weekend

Valentine Weekend: Laura Bowler – Irresistible Demands of the Flesh (World Première)

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To bring this inverted Valentine Weekend to an end, i’m turning from the intimacy of duets to the large-scale, inflamed overload of the orchestra. Laura Bowler‘s Irresistible Demands of the Flesh is an audacious exploration in sound of the theatrical tenets of Antonin Artaud, specifically the desire to push performers to a point of extremity in order to unlock something fundamentally true. The piece (the title of which appears to be from an entry about Michel de Ghelderode in The Cambridge Guide to Theatre) in part achieves this through an avoidance of conventional notions of idiomaticism and performance, seeking to place the members of the orchestra emphatically outside their traditional comfort zones. It does much the same thing for the listener, coming across not so much the product of an act of composition as a 12-minute slab of spontaneously seething organic sound, elemental and overwhelming. Read more

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Valentine Weekend: Gavin Higgins – Three Broken Love Songs

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My Valentine Weekend continues today with an intimate survey by Gavin Higgins of a failed relationship, his Three Broken Love Songs, for basset clarinet and piano. Composed in 2006 for the clarinettist and composer Mark Simpson, the work falls into three movements, bearing demonstrably blunt titles. ‘…Two bottles of wine later…’ takes as its starting point the soaring opening glissando from Rhapsody in Blue (which, coincidentally, was premièred just over 90 years ago), but sidesteps Gershwin’s dancing airiness in favour of material that initially broods and swoops. Glissandi colour the clarinet’s melodic intentions repeatedly, indicative of an ongoing process of aural inebriation that culminates—responding to a heavy sequence of piano pounding—in a series of ecstatic shrieks. A climax indeed. Read more

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Valentine Weekend: John Rodgers – Amor

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It’s Valentine’s Day, so i’m going to extend the mood through a long weekend with three pieces that each provide a uniquely twisted reflection on the subject of romance. First is one of the more fascinating duets i’ve heard in recent years, Amor for flute and oboe by the Australian composer John Rodgers. The piece is taken from his larger work ‘Inferno’ (a commission from the Adelaide Festival and ELISION), described by Rodgers as a “musico/theatrical translation of Dante’s vision of hell”. The subject matter of Amor is to be found very early in Dante’s work, in the region he described as ‘upper hell’, specifically its second circle; here, Dante locates the Lustful, whose punishment consists of being pummelled for eternity by an immense wind. A whole host of famous lovers—including Dido, Helen, Paris and Achilles—are found here, but Dante’s attention (in one of the most famous scenes of the entire Divine Comedy) centres on the couple of Francesca da Rimini and Paolo. Their illicit love affair undermined Francesca’s (politically-motivated) marriage to Paolo’s brother Giovanni Malatesta; Giovanni was widely nicknamed ‘the lame’, which possibly accounts for Francesca’s roving eye—yet the paramours’ pleasure was short-lived, as after a few years Giovanni murdered them both. Read more

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