At the start of last week, the Proms saw important premières from two veterans of new music, Colin Matthews and James MacMillan. Both composers have a demonstrative relationship with music from earlier times, producing work that often seeks to find a comfortable marriage of old and new, looking back and forth simultaneously. The titles of both pieces bear some witness to this too, ostensibly bald, functional titles yet which carry centuries’ worth of connotation and legacy. Read more
Stability, progression, continuity, predictability, coherence: these concepts jostle, intermingle and regularly find themselves redefined in a lot of new music. And in two recent Proms premières, they felt overtly prominent, Luke Bedford‘s Instability and Anna Meredith‘s Smatter Hauler. This prominence was partly deliberate and partly due to the extreme contrasts these pieces exhibited. In the case of Meredith’s piece, given its world première by the Aurora Orchestra (who, it should be pointed out, performed from memory—if only more orchestras would be up for this), the stated aim was associated with musical ideas being ‘stolen’ by different groups of instruments (the title being a reference to Victorian handkerchief thieves, mentioned in a Sherlock Holmes novel). An interesting aim, yet in practice the aural result was a simple gradual yielding between centres of distinct behavioural activity, like slowly shifting one’s gaze from group to group. In more imaginative hands, it might have proved effective; but here, the predictability in the work’s systemic approach combined with materials woefully in want of a cogent, compelling idea, simply led to a dull descent into increasingly blank forms of inarticulate bludgeoning. Rarely has a creative vacuum made so much empty noise. Read more
The concerto form is a popular one for new works at the Proms, and the most recent, Luca Francesconi‘s Duende – The Dark Notes (originally intended for the 2014 Proms), has, i think, set the bar higher than any of the last few years. ‘Duende’ is a somewhat complex Spanish term implying aspects of heightened emotional response to artistic stimulus, which the work’s soloist, violinist Leila Josefowicz, summarises as a “hypnotic, demonic zone in which a performer loses themselves in the feeling and emotion and in the physicality of what they’re doing […] and it can also be angelic”. To tap into this, and also partly to obviate the pitfall of rehashing conventions, Francesconi has sought to revert “back to primal matter […] something which is hidden energy; [an] unknown, uncharted land which is within each one of us, beyond originality”. Read more
It would be pretty remiss of me not to make some mention of the Rarescale summer school, which was my home and my entire focus for the entirety of last week. Rarescale is a chamber music ensemble founded by flautist Carla Rees, which specialises in new music for the deeper members of the flute family (alto, bass and, most recently, contrabass) alongside works for woodwind in general. Rarescale’s contemporary focus extends to a yearly summer school, where a small group of flautists and composers are thrown together for an intense five-day period of creation and collaboration. The composition side is overseen by Rees’ long-term collaborator (and Rarescale’s composer-in-residence) Michael Oliva, enabling composers to explore a variety of aspects of electronics alongside acoustic writing. i described the school as intense, yet the entire setup is extremely relaxed; classes are timetabled each day, but performers and composers are free to shape the week according to their needs and whatever direction seems fruitful; the only caveat being that everyone’s labours are channelled towards a Friday evening concert showcasing everyone’s work. This unavoidably leads to an acute intensity of focus, but in the best and most beneficial of ways.
i’m away this week, living it up in Lincolnshire on the Rarescale composition/flute summer school. Proms reviews will continue at the weekend.
Last Saturday’s Proms Matinee concert given by Birmingham Contemporary Music Group, conducted by Franck Ollu, featured several world and UK premières, which together gave one pause for thought with regard to the relationship between surface materials and their deeper impulsion. Their respective points of inspirational departure were extremely varied, encompassing a peripatetic storytelling cellist, an examination of a parasitic fungus and an intense miniature song-cycle.
Proms premières come in all shapes and sizes, and last week’s new works from HK Gruber and Hugh Wood were larger and more aspirational specimens. Scale and stature are different things, though, and despite their respective composers’ demonstrative ambition (and experience, composing veterans both), each of these pieces were hobbled by considerations that would have been less problematic in smaller-scale forms. Read more