Proms 2018: pre-première questions with Jessica Wells

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Tomorrow’s afternoon Prom concert in Cadogan Hall promises to be something a little different. Titled Ancient Rituals and New Tales, the event is a showcase for Egyptian oud player Joseph Tawadros. In addition to his own music Tawadros will also be giving the world première of Australian composer Jessica WellsRhapsody for solo oud. In preparation for that, here are her answers to my pre-première questions, together with the programme note for the piece. Many thanks to Jessica for her responses. Read more

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Proms 2018: pre-première questions with Andrew Norman

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Tonight’s Prom includes a short orchestral work by US composer Andrew Norman, titled Spiral. Here are his answers to my pre-première questions, together with the programme note for the piece. Many thanks to Andrew for his responses. Read more

Proms 2018: pre-première questions with Ēriks Ešenvalds

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This evening’s Prom, titled ‘War and Peace’ and featuring the BBC Proms Youth Choir and the World Orchestra for Peace, gets underway with the world première of a new work called Shadow, by Latvian composer Ēriks Ešenvalds. In preparation for that, here are his answers to my pre-première questions, along with the programme note for his piece. Many thanks to Ēriks for his responses. Read more

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Fermata

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Tomorrow morning, my best beloved and i are heading off on holiday for a week, so normal service will resume once i’m back. One or two articles might just appear while i’m gone, and in the meantime, if you haven’t already, be sure to express your opinion about each of the Proms premières i’ve reviewed so far over on the Polls page.

Toodle pip!

Proms 2018: Caroline Shaw – Second Essay: Echo; Third Essay: Ruby (World Premières)

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What has been will be again,
what has been done will be done again;
there is nothing new under the sun.

Whether or not you agree with these words – penned by the sombre but often startlingly wise author of the biblical book of Ecclesiastes – it’s impossible not to consider them when listening to the most recent pair of world premières at the 2018 Proms, written by US composer Caroline Shaw. Her music was new to me, and as a warm up for her two new ‘Essays’, i spent some time with her First Essay: Nimrod, composed a few years ago. In hindsight, it’s by far the best of the three, exhibiting a similar kind of playfulness to that of early Tippett, at all times taking its rhythmic and harmonic ideas from existing tropes and models but which, with the exception of a dull passage in the middle, generally avoids sounding too conventional in the way they’re used. The same can’t be said for Second Essay: Echo and Third Essay: Ruby, which received their first performances at Cadogan Hall on Monday by the Calidore String Quartet.

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Proms 2018: Ben Foster – Young Musician Theme & Variations; David Bruce – Sidechaining; Iain Farrington – Gershwinicity (World Premières)

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Party time!

The Proms needs precisely no encouragement whatsoever to turn a concert into a party, and on Sunday evening, a mere two days after the opening night knees-up, came another boisterous shindig, celebrating 40 years of the Young Musician competition. Given by the BBC’s resident light music aficionados, the BBC Concert Orchestra, conducted by Andrew Gourlay, they were joined for the occasion by a host of past competition winners and finalists. Appropriately enough, the music on offer was to a large extent the equivalent of party food, though thankfully – perhaps a self-conscious nod to Britain’s ongoing obsession with tackling obesity – most of it was savoury rather than sweet.

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Cheltenham Music Festival 2018: Quartet Premières; Berkeley Ensemble; Juliana

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Last Wednesday at Cheltenham Music Festival saw the world premières of no fewer than four new string quartets, courtesy of the Ligeti Quartet. Interestingly, all of them were cast as single-movement structures, though in the case of his String Quartet No. 2Michael Zev Gordon presented something akin to a swatch book, the work comprising an episodic collection of diverse patterns and hues. Mildly engaging, not really containing anything unfamiliar or unconventional, these episodes seemed like short exercises in library music, like the underscore cues for a slightly quirky British drama (think The Camomile Lawn). Somewhat lacking in substance and a bit directionless and monotonous in its later stages – some of the ideas were protracted longer than they warranted – it nonetheless had its moments. Similarly incidental was Ayanna Witter-Johnson‘s Mento Mood, a pretty, cheerful piece invoking Jamaican mento music. In many respects it sounded more like an arrangement than an original composition per se, though there were some nice passages where the material extended beyond the instruments, requiring the quartet to sing and vocalise.

Much more involving than these was Sarah RimkusLe Dian, a piece taking inspiration from Gaelic-language musical traditions. Rimkus sets up a diatonic world, powered primarily by cycling rising minor thirds, from which the instruments then broke away, led by the cello. This established a pattern of harmonic side-steps resulting in nice collisions and ambiguity along the way yet never interrupting the constant flow of the material. A later episode, where the rising motif was explored at length, was truly hypnotic. The most outstanding of these four new quartets was Bethan Morgan-WilliamsGhost Tongues. In keeping with the referential aspect that permeated all the pieces, Morgan-Williams’ music appeared to be derived from folk music, though in the most marvellously oblique and obscure way. It would be simplistic – no, it would just be plain wrong – to say that the piece was ‘folk-like’, yet at all times there was something about the material that, in ways difficult to articulate or even understand, made an oblique but undeniable connection back to a folk origin. This fluid, uncanny sense of familiarity was sometimes expressed in exploded form, the music pulled apart into small fragments, before reforming or shifting into a kind of prismatic lyricism, conveying melodies and harmonies as if refracted through the instruments. This back-and-forth between poles of extended lines and atomised pizzicatos were mirrored by the work’s expressive scope, Morgan-Williams not afraid to let the music become pensive, even allowing it to fall silent a couple of times. Though episodic, it all felt part of the same underlying argument, concluded in a lovely ‘dirty’ major seventh chord, as though a cadence had been forced onto the end. A really brilliant piece that i can’t wait to hear again. Read more

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