i’ve recently returned from a trip to Tallinn to experience some of the annual Estonian Music Days (my reviews can be read over on Bachtrack). In a bit of spare time one afternoon, i finally got around to examining the forthcoming Proms season, and i don’t think it’s entirely due to the fact i was in the midst of a genuinely bold, experimental festival that, from the perspective of new music, Proms 2016 seems so poor bordering on lamentable. In terms of quantity, contemporary music – always a tertiary concern at the Proms after 1) established repertoire and 2) the increasingly desperate need to appear ‘trendy’ – isn’t represented too badly, with 52 works scattered throughout the season (only six of which are by women composers), including 13 world and 10 UK premières. But the choices, particularly in the case of the world premières, are appallingly predictable and narrow-minded, and the less said about the decision to perform Steve Reich in Peckham’s Bold Tendencies car park the better, as it may be an all-time low for the Proms, clearly trying to imitate LCMF. It’s hard to believe the decision-makers have a meaningful grip on what’s actually going on in contemporary music; certainly, if this is indicative of David Pickard’s vision for the Proms, that vision is suffering from an extreme case of myopia. Read more
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