Aching with exuberance: of Montreal – False Priest

Posted on by 5:4 in CD/Digital releases | Leave a comment

My first encounter with of Montreal‘s 2008 album Skeletal Lamping was a bewildering experience. For anyone unfamiliar with it, its apparent 15 tracks are nothing but a ruse; in fact, there are many more than that, the album lurching between portions of song, seeking neither clarity nor indeed coherence. On the one hand, there’s something maddening about it, but what Skeletal Lamping projected most was a riotous celebration of the sheer joy of song-making, the jump-cuts so many signs of unbounded enthusiasm. For all its structural oddness, it was nonetheless irresistable, carrying the audience along on an unstoppable tide of invention. Their new album, False Priest, unleashed earlier this week, is therefore among the releases that i’ve been most excitedly ancitipating this year.

First things first: False Priest‘s 13 tracks are (almost) all present and correct in their entirety; of Montreal—as one might have guessed, considering their highly evolutionary history—have wisely not attempted to repeat past experiments. If anything, what songwriter Kevin Barnes has done in this new outpouring is find ways to incorporate the kind of stylistic eclecticism heard on Skeletal Lamping into cogent songs positively aching with exuberance. There’s undeniably a powerful sense of past musics informing each song at its deepest level, but while in the hands of lesser bands this can become a kind of shallow pastiche bordering on a piss-take (sadly, the road down which Scissor Sisters seem determined to travel), of Montreal’s unbridled imagination takes the essence of former idioms rather than just their surface gloss, and the result—for all its apparent ‘retro’ chic—is unequivocably new. Read more

Tags:

Proms 2010: Jonathan Dove – A Song of Joys (World Première)

Posted on by 5:4 in Premières, Proms | 3 Comments

i think Tom Service put it best, a few years ago, when he described the Last Night of the Proms as a “calcified cadaver”. It is, there’s no question: beneath the merriment and the klaxons lies an occasion that died many, many years ago; it’s a concert in aspic, filled with a misfitted agglomeration of works that culminate in a trio of singalongs which have at least made the transition from jingoistic anthems to party favourites. It’s almost as bad as Choral Evensong, for goodness’ sake. Anyway, turning away from such blatant party poopery for a moment, it does at least promise something new each year, and last night the opportunity fell to housewives’ favourite, Jonathan Dove, whose A Song of Joys was given its first performance, starting the concert.

Dove has turned to that most ambitious of poets Walt Whitman for his text, lines from the poem whose title Dove has borrowed for his own. And it’s a big text; the scope of Whitman’s vision is akin to that of Psalm 8, conjuring a vista of creation from the vantage point of song. Such epic scope as this makes it all the more disappointing that Dove’s response to the text is so simple and unimaginative. Dove probably wasn’t allowed longer than his 5-minute duration, but did he really have to move through the text in such a perfunctory way? One phrase dutifully follows another, never really bringing alive the words or tapping into their vision, still less presenting one of Dove’s own. It’s all terribly functional: loud and light, with lots of big tunes—but not a hint of the genuine, deep excitement from which Whitman’s words no doubt sprang. In fact, the choral evensong analogy remains apt; what Dove has composed is a secular but unavoidably John Rutter-esque anthem that would sit perfectly comfortably within an edition of Songs of Praise. So, was it suitable to start the Last Night of the Proms? with Tom Service’s description of the occasion foremost in mind: yes, absolutely. Read more

Tags:

Proms 2010: Robin Holloway – RELIQUARY – Scenes from the life of Mary, Queen of Scots (World Première)

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

Prize for the longest title bestowed on a piece in this year’s Proms must surely go to Robin Holloway‘s RELIQUARY – Scenes from the life of Mary, Queen of Scots, enclosing an instrumentation of Robert Schumann’s ‘Gedichte der Königin Maria Stuart’, given its world première two days ago. Holloway has taken Schumann’s last five songs—deemed, it seems, by scholars to be of relatively poor quality—and both orchestrated them as well as providing them with a larger context, a framework within which they sit; Holloway describes how “[the] work as an entity … contains the five original songs as within a mediaeval reliquary, surrounding the precious remains within a suitable setting, tactful and unobtrusive for the most part…” (from the programme note).

To that end, Holloway has put himself in Schumann’s compositional shoes, to the extent that the opening Prologue works so convincingly as a preliminary to the first song, that i didn’t even notice it at an initial listening. This stylistic reserve continues throughout the song (“Abschied von Frankreich”); while the orchestration does sound, at moments, a touch richer than Schumann might have written, the language is faithful, with little to suggest a much later hand has been involved. Until, that is, the very end of the song, when a muted call from the horns causes the style to shift, allowing in some poignant dissonances, all the more cutting in this context. It leads pretty much seamlessly into the second song (“Nach der Geburt ihres Sohnes”), in which Holloway’s voice is much more demonstrable—right from the start, in fact: the opening celesta motif almost made me gasp at its stylistic difference. But one gets the impression, quickly, that this song was most in need of assistance; Schumann’s treatment of the text (a prayer for her new-born son’s safety) is somewhat perfunctory and fragmented. While this isn’t helped by Holloway’s interpolation of a number of silences, it is significantly enriched with what he calls a ‘halo’, provided by celesta and strings, continuing throughout; it sits surprisingly comfortably above the song, giving it a delicate, even transcendent dimension. Read more

Tags:

Proms 2010: Tansy Davies – Wild Card (World Première)

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

The prepenultimate première at this year’s Proms was one i’ve been very much looking forward to: Tansy DaviesWild Card, receiving its first performance this evening. i’m fortunate to have had a number of lengthy conversations with Tansy in the last year or so, and her compositional mind is an attractive combination of frivolous spontaneity and thoughtful deliberation. This engaging dichotomy is also brought to bear in her new work; indeed, as she says beforehand, speaking of the tarot cards that inspired it, “they’re all about systems and games, patterns…”.

It opens with the Devil card, the bass clarinet luxuriating in a kind of rude profundity. Melodies quickly develop, doubled on multiple woodwinds (strings form a backdrop), calling and swooping above the rhythmic patterns laid down by the percussion (the High Priestess and the Magician, perhaps). Texture is apparently just as important as tunes, though, and as the melodies subside, harp and piano introduce a series of rough, blurting gestures, the percussion tickling from behind. The two are then brought together; over an insistent bongo, the woodwinds bleat a fragmented tune, swiftly restoring the melodic ideas from earlier. In just a few minutes, Davies has made it clear hers is going to be a diverse piece, chopping and changing with serious alacrity. But likewise, what also becomes clear is that the programme note—in which she carefully describes her musical interpretation of each of the 22 tarot cards—could be a tad dangerous, potentially lulling the ear into perceiving Wild Card as a purely episodic piece—a kind of test where one listens out for and mentally ticks off each card as it appears. But Wild Card is more—well—wild than that; Davies has constructed a far more complex work than first impressions suggest, the ideas relating to individual cards by no means confined to neat, tidy episodes but recurring, quixotically, when it seems appropriate (or even inappropriate). Read more

Tags:

Proms 2010: James MacMillan – The Sacrifice – Three Interludes (London Première)

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

The Proms is now well into its final straight, and the week began with the London première of James MacMillan‘s The Sacrifice – Three Interludes. As the title suggests, MacMillan has extracted the music from his 2007 opera, The Sacrifice.

First of the three is “The Parting”, which opens, disarmingly, like a John Williams-esque bit of film music, continuing in this vein for several minutes. Eventually it coalesces into something deeper; a curious music, driven by the strings, taking some strange harmonic twists (akin to one of Shostakovich’s slow movements), before being abruptly snatched by the brass and percussion. This throws a bit of light and air into the mix, and leads to some brief excitement in the woodwinds, though not for long, finally descending back to the mood from which it sprang. The interlude concludes with the greyest of passages (now Wagner springs to mind), muted, melancholic, ashen.

A “Passacaglia” follows, and if the opening moments suggest Britten or Lutosławski, such notions are quickly dispelled by the boistrous melody that chirps up, setting the tone for where things are going. The music originally accompanied the scene of a marriage feast, and there’s a fair amount of merriment in MacMillan’s material, although equally, the ominous presence of the ground bass, coupled with the nasal quality of much of the music, makes for an ambivalent mood (MacMillan’s programme note bluntly states, “It will end in violence”). Read more

Tags: ,

Proms 2010: Weir, Musgrave, Northcott, Ferneyhough, Taverner, Harvey and Jackson

Posted on by 5:4 in Proms | 4 Comments

The final Proms Saturday Matinee, two days ago, featured the BBC Singers, exploring a variety of contemporary works inspired by early music. The singers were joined for the occasion by the Arditti Quartet and members of Endymion, with David Hill presiding.

The concert opened with Judith Weir‘s millennial composition All the Ends of the Earth. Weir’s innate sensitivity in writing for voices is superbly demonstrated here, the sopranos exploring increasingly complex melismas; they’re answered at intervals by the lower voices, who are backed up by soft harp and percussion. The melodic lines soon become concentric, fast and slow simultaneously, an obvious tip-of-the-hat to Weir’s inspiration for the piece, Perotin. The lower voices’ contributions become more and more static, less and less frequent, as the piece progresses; greatest emphasis is given to the often stratospheric sopranos, whose repeated Alleluia refrain carries real weight, despite the altitude. Towards the conclusion, both the lower voices and the instruments get more caught up in the celebration, the choir ultimately uniting at the very end. Read more

Tags: , , , , , , ,

Proms 2010: Martin Matalon – Lignes de fuite (UK Première)

Posted on by 5:4 in Premières, Proms | 1 Comment

On Thursday evening, the Proms was treated to the UK Première of Argentinian composer Martin Matalon‘s Lignes de fuite (“Lines of convergence”), tackled with obvious relish by the splendid BBC National Orchestra of Wales.

The work opens, appropriately, with a single static line, passed between the horns, gradually coloured and fragranced by the percussion and woodwind; it’s a captivating introduction, pregnant with potential. Matalon doesn’t take any time whipping his material into shape, however; the music is positively marshalled around the orchestra. Special attention is given to the brass, who deal with their passages with brusque efficiency, while the strings (aided by celesta) strike more elegant poses, their lines almost coyly twirling their way upward. The structure is given space and more interesting shape by brief episodes where everything momentarily stops, a chance for everyone to get their bearings before launching off somewhere new. Read more

Tags: