Proms 2015: Cheryl Frances-Hoad – From the Beginning of the World (World Première)

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

Relatively few of the Proms premières include vocal elements, which makes Cheryl-Frances Hoad‘s new work From the Beginning of the World, first performed last Monday, a very welcome exception to the norm. Initially billed as ‘Homage to Tallis’, her piece was nestled amidst a concert otherwise dedicated entirely to the great man’s music, a context that throws down a pretty substantial gauntlet. For inspiration, Frances-Hoad turned to Danish astronomer Tycho Brahe’s detailed account of the “great comet” visible across Europe in 1577. Insodoing, she is appealing both to an innate sense of wonder as well as to more polemical ends, setting words with connotations pertaining as much to present-day resource-depletion and asinine political shenanigans as to 16th century shock and awe. Read more

Tags: ,

Proms 2015: Gary Carpenter – Dadaville (World Première)

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

Right, let’s get (belatedly) cracking. For a few years, the annual Proms season began with a première, which was nice but reduced the piece (or, at least, reduced composers’ aspirations) to a mere curtain-raiser. Gary Carpenter‘s Dadaville, which received its first performance in the opening Proms concert last week, did not begin the concert (that task fell to Nielsen), but the piece would in fact have worked wonderfully well as a concert-opening overture, but one with considerable chops and ambition. Read more

Tags: ,

Fermata

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

i’m now heading off to Sweden for a week-and-a-bit; once i’m back, belated coverage of the Proms premières will begin.

Ses snart!

Christopher Fox – Topophony (World Première)

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

Back to Tectonics, and to one of the most beautiful new orchestral scores i’ve encountered in recent times. Christopher Fox‘s Topophony, for orchestra and up to three optional soloists (but not a concerto), operates in such a way that the conductor ensures that every beat is a different length. Beats are not of over-arching sonic importance, though, as the music speaks through slow, meditative swatches of instrumental colour, comprising textures of protracted, shifting pitches with a variety of surface articulations. These are often fascinating, conjuring up motors, the noise of something caught in bicycle spokes, the bell of an alarm clock: unpitched occasional worryings that become a delicate counterpoint to the rest of the orchestra which, apart from some moments when deep throbs threaten to overwhelm, comes across by contrast as rather distant (in both senses of the word). Read more

Tags: ,

Cheltenham Music Festival: Charlotte Bray – Entanglement, Kokoro & Canticum Chamber Choir

Posted on by 5:4 in Cheltenham Music Festival | Leave a comment

Moving on from exotica, for the last couple of days new music at the Cheltenham Music Festival has been revisiting aspects of the past in order to reflect on the present. Yesterday night, back at Parabola Arts Centre, this was manifested in a pair of chamber operas, performed by Nova Music Opera. i’ll resist the temptation to write about the latter of the two, Thomas Hyde’s That Man Stephen Ward, which ranks as one of the most nauseatingly effluvial dramatic works i’ve ever encountered, and focus instead on the very different experience that was Charlotte Bray‘s Entanglement, receiving its world première. It seems to be the case with contemporary opera that it takes a while to grasp the essential language with which it’s speaking, and while i thought that was the case through the first couple of scenes of Entanglement, it became apparent that it had launched straight into its expressive heart at the outset. Read more

Tags: , , , ,

Cheltenham Music Festival: Emulsion Sinfonietta, From Java to the Himalaya

Posted on by 5:4 in Cheltenham Music Festival, Premières | 1 Comment

As far as new music was concerned, last Saturday at the Cheltenham Music Festival was characterised chiefly by exotica and sensuality. To a lesser extent the latter was to be found in the late evening gig at Parabola Arts Centre given by Emulsion Sinfonietta, although only three (out of seven) pieces were prepared to eschew being episodically amorphous and/or locked in primitive, rather hackneyed loop chatter. Emulsion founder Trish ClowesApple Boy appeared at first to be quite simple, but turned out to be extravagantly rich—opulent even—attaining some very impressive tutti textures that were highly individualistic, only held in check by the music’s underlying harmony. The quality of its lyricism was only exceeded by its ravishing beauty. In a change to the programme, a work by Iain Ballamy (that may have been called Chantreys) tapped into similarly lush harmonies in a piece that unfolded like a slow chorale, stately and sumptuous. But highlight of the evening was Luke Styles‘ highly atmospheric Chasing the Nose, doleful despite a persistent funked-up tribal groove; focussed on a wonderfully lyrical bass clarinet line, it expanded into a feisty duet with saxophone at its conclusion; exhilarating and immersive stuff. Read more

Tags: , , , , ,

Mix Tape #34 : Summer

Posted on by 5:4 in Mix Tapes | Leave a comment

As the UK seems to be going through a never-ending heatwave at the moment, it seems entirely appropriate to devote the new 5:4 Mix Tape to music connected (at least in name) with the summer. Interestingly, this was a little harder to put together than the autumn mix from nine months ago, but the result is nonetheless a nicely eclectic collection of tracks festooned with references to summer, sunshine and heat. It embraces electronica new and old (Andrew Liles, Vangelis Katsoulis, Autechre, Pram, Plaid, Boy Is Fiction), some fittingly laid-back noodlings (The Flashbulb, The David Whittaker Orchestra, The Real Tuesday Weld, Yellowjackets), classical strains from Maurice Jarre‘s sweltering score for Lawrence of Arabia and Max Richter‘s inventive rethinking of Vivaldi, a brace of intense songs (Pantaleimon – practically swooning here, and Anna von Hausswolff) and electronics with or without field recordings (aTelecine, Jonathan Coleclough, Michel Redolfi). Pervading the mix tape are several bursts of ambient music, for me one of the best kinds of music for really hot days, represented here by Chubby Wolf, Shane Carruth (blink and you’ll miss him), Celer (from one of their most beautiful tracks ever), Stendeck, Evan Caminiti and, to finish, 36.

90 minutes of heat-stricken blaze and bliss; here’s the tracklisting in full: Read more

Tags: , , , , , , , , , , , , , , , , , , , , , ,