For the latest 5:4 mix tape, i’ve opted to explore music associated in some way with this time of year. Autumn is arguably the most poignant of the seasons, the ostentatious eruption of its gorgeous colours militated against by the pointed melancholy of its inevitable transition into the wastelands of winter. My infinitely greater namesake, the poet E. E. Cummings, often indignantly pitted the season against his beloved, despite its beauty:
walk the autumn long;
the last flower in whose hair,
thy lips are cold with songs
for which is first to wither, to pass?
shallowness of sunlight
across the grass
The 5:4 doormat has been inundated with a stream of new releases falling onto it through the last few weeks, many of which are outstanding and deserve fuller treatment in due course—but to at least get the ball rolling, here’s an overview of some of the best, starting with chamber music. Read more
In terms of volume, the Last Night of the Proms ensures the festival ends with a bang rather than a whimper. In terms of musical imagination, originality, provocation and insight, however, the reverse has long been the case, & the event today does little more than put the shit in shitfaced. It’s hardly surprising, then, that the premières commissioned to jump-start this party-cum-concert have for the most part become little more than functional bursts of effervescent froth, limp spurts of aural ejaculate that seek to tick the box of contemporary relevance before sagging back into its usual back-slapping melée of moribundity. Read more
Despite BBC Television’s astonishingly stupid recent efforts to reinforce this myopic dogma, new music does not and never has existed in a hermetically sealed, separate space, set apart from the entirety of music that has gone before it. Composers might sometimes wish it did (echoing Beckett’s “All that goes before forget”), but it’s a moot point; audiences—especially Proms audiences—cannot fail to approach contemporary music saturated with the knowledge and memories of a myriad earlier musical experiences, classical or otherwise. Excising new works from the BBC’s television broadcasts of Proms concerts isn’t merely a craven act of crowd-pleasing complaisance, treating music as little more than an emollient unction with which one can unthinkingly unwind, it’s a fundamental misunderstanding of the interconnected nature and context of the entirety of music. Composers squirm when you ask them about influences, but they’re there, sometimes very obviously so, and two of the most recent Proms premières, from Behzad Ranjbaran & Jörg Widmann, could hardly have made their earlier points of inspiration more clear.
The latest round of Proms premières got one thinking about the relationship between expectation/innovation and engagement. It was Judith Weir‘s new work that got this particular ball rolling around the mind. A composer already at the less adventurous end of the new music spectrum, in recent years her music has increasingly seemed imaginatively torpid, practically treading water. Day Break Shadows Flee, composed for and premièred by pianist Benjamin Grosvenor, went to essentially no lengths at all to challenge that assessment. Read more
Nothing remotely ordinary, it often seems, can come from Scandinavia. This notion was emphatically corroborated at the Proms in the recent pair of UK premières from Iceland’s Haukur Tómasson and Finland’s Jukka Tiensuu. i can’t help wondering whether they succeeded as strongly as they did in part for essentially the same reason, namely that they each embody a remarkable immediacy, even a simplicity. That’s not to say that these are simple pieces—they couldn’t be much farther from it—but there’s an overwhelmingly apparent sense of directness from both composers such that, put crudely, what you hear is precisely what you get. Read more
Last week’s visit to the Proms by Daniel Barenboim’s West-Eastern Divan Orchestra brought first UK performances of works by two composers of Middle Eastern descent. Ayal Adler and Kareem Roustom, born in Jerusalem and Syria respectively, opted for compositional approaches that in some ways could be described as opposite. Adler, coming from a starting point of pure sonics (“an echo, or a reminiscence of sound, lingering after the vast chords slowly fade away”), aimed for an emphatic example of abstraction; by contrast, Roustom’s course was charted via the metrics of pre-Islamic poetry and a concrete intention to “reflect” on the ongoing violence in Roustom’s native land. Both works suffered at the hands of these divergent aims. Read more