This evening’s Prom, given by the BBC Philharmonic, includes the world première of Midnight Sun Variations by Finnish composer Outi Tarkiainen. In anticipation of that, here are her answers to my pre-première questions, along with the programme note of the piece. Many thanks to Outi for her responses.

The last two premières at the Proms have both been concertos: Alhambra, the third violin concerto by Peter Eötvös, and Nigredo: Dark Night of the Soul, a double-trumpet concerto by Swedish composer Tobias Broström. It’s been interesting to note how their overall approach to narrative is, at a fundamental level…

In February last year, Monty Adkins and i organised Ambient@40, the first academic conference devoted to ambient music, which took place over two days at Huddersfield University. The conference was designed to explore the history and legacy of the genre forty years after the release of Brian Eno’s pivotal album…

Performed last Monday by an orchestra combining students from the Royal Academy of Music and the Juilliard School, conducted by Edward Gardner, Anna Þorvaldsdóttir‘s Metacosmos is a work i know quite well. Anna and i discussed it at length during our Dialogue together, and i explored the piece further following…

The most significant love-hate musical relationship of my life has been – and continues to be – with film scores. Few idioms have the power to elevate, charm, horrify, astonish and amaze us more while at the same time displaying the irresistible propensity to eschew all originality and imagination in…

Many of the Proms seasons in recent years have begun with a world première, and that was again the case this year. In 2018, the opening work commemorated the end of World War I, whereas in 2019 the topic of commemoration is altogether more triumphant: humanity walking on the moon.…

This afternoon’s Prom is the first of the festival’s usual parallel strand taking place at Cadogan Hall. Primarily featuring early choral music performed by vocal group VOCES8, the concert also includes the first performance of Earthward by British composer Alexia Sloane. As an introduction to the piece, and to Sloane’s…

This evening, the 2019 Proms festival begins in earnest. As on many previous occasions, they’ve opted to get things started with a world première, which this year is by Canadian-born, US-based composer and sound artist Zosha Di Castri. As an upbeat to that, here are her answers to my pre-première…

i’m setting off this morning for the Faroe Islands, where i’ll be spending the next six days exploring some of Summartónar, their annual music festival. While i’m away, the first of this year’s series of ‘pre-première questions’ articles with composers featured at the Proms (which begins on Friday) will appear.…

One of my highlights from last year came at the end of the summer, during the final concert at the Baltic Sea Festival in Stockholm. An occasion given over to celebrating composer and conductor Esa-Pekka Salonen (which i reviewed elsewhere), the concert included a performance of Salonen’s Cello Concerto given…

We might call it “conjectural anthropology”. What i’m referring to here is music (or any art, for that matter) that seeks to fabricate and/or otherwise be inspired by fictitious notions of organic life and activity. We find examples of this in, among other places, the strange electronic languages being uttered…

In contemporary electronic music it can be hard to find a good balance between a robust sense of purpose while retaining the possibility of spontaneity. To an extent, the sculpted nature of fixed media works tacitly tends to enforce the former over the latter such that, like the dialogue in…

For the latest 5:4 mixtape, inspired by the incredible heat that’s been sizzling its way across Europe recently, i’ve turned to the Sun as my theme. The mix has a somewhat different tone from my Summer mixtape from four years ago (which was, generally, intended to be quite upbeat and…

It was perhaps inadvertently helpful that i first listened to LP1, a new release from Joseph Branciforte and Theo Bleckmann, in bed late at night. Not because it’s nocturnal, as such, but more to do with the fact that it sounded in sympathy with the pitch blackness all around me.…

The main focus during the five days of concerts at Forum Wallis was on ensemble and chamber music. An important and impressive feature of these concerts was their aesthetic diversity, not showing a marked preference for certain kinds of music-making. This resulted in extremely different – sometimes, practically opposite –…

It’s impossible to be aware of everything that’s going on in new music. For me, that fact is usually associated with new CD releases, but i’ve come to realise it’s just as true for concerts and festivals. Apropos: Forum Wallis, a five-day festival of contemporary music that takes place annually…

Last weekend i made a pilgrimage to the far south-west of England to catch the latest concert given by (as far as i can tell) Cornwall’s one and only contemporary music ensemble, Kevos. The title of the concert, named after one of the works being performed, Old Kings in Exile,…

The lack of ostentation in most of the music at this year’s Only Connect festival was perhaps nowhere more conspicuous than in a concert last Saturday devoted to French composer Pascale Criton. Performed by violinist Silvia Tarozzi, cellist Deborah Walker and singers Stine Janvin Joh, Signe Irene Stangborli Time and…

There’s something absolutely right about the bringing together of Norway’s Only Connect – a festival that, as its name implies, encourages one to question (inter)connections between ostensibly disparate musics – with Tectonics, Ilan Volkov’s peripatetic festival the name of which evokes fundamental, underlying bedrocks that continually meet, connect and rupture.…

Ambient music has been on my mind a lot lately. Monty Adkins and i are nearing completion on our forthcoming book about Ambient that we’re co-editing – following on from the conference we organised last year – and i completed my own lengthy contribution to this just last week. Since…