Following on from Emily Howard’s Torus, two further Proms premières have continued the relationship with the orchestral concerto archetype: Bayan Northcott‘s Concerto for Orchestra and Thomas Larcher‘s Symphony No. 2, which began life as one but developed in a different direction. Larcher’s symphony was commissioned to commemorate the 200th anniversary of the Oesterreichische Nationalbank, but far from being celebratory, the piece, dourly subtitled ‘Cenotaph‘, is bound up in thoughts and feelings instilled by the ongoing refugee crisis. Although not programmatic, Larcher has used the symphony to compose an ‘outcry’ at the sense of helplessness he felt.
The most recent Proms premières have demonstrated particularly keenly the highly differentiated approaches being taken by this year’s crop of composers, and while some works at first glance appear to be nothing but effervescence and froth, closer examination proves otherwise. In the case of Piers Hellawell‘s new orchestral work Wild Flow, dedicated to and given its first performance by the Ulster Orchestra, conducted by Rafael Payare, there’s plenty of froth, though it’s been whipped up into a particular dense and sticky consistency. Composed also to mark his own 60th birthday, Hellawell’s aim was to write “immediate” music that “wants to uplift and exalt the spirit”. Four of the work’s five movements are fast and energetic, around a slower central section. The opening, to a clanging bell, suggests the first round in a boxing match, and while Wild Flow isn’t exactly pugilistic, it certainly displays a kind of Varèsian muscularity crossed with a curiously gymnastic melodic attitude. Music seeking to float like a butterfly, sting like a bee, perhaps? Read more
i’m off to Sweden to catch a few days of the Baltic Sea Festival (including the world première of Sven-David Sandström’s new opera The Performance tomorrow afternoon), so reviews of the Proms premières will continue when i’m back later next week.
Hejdå för nu…
Finally. Five weeks into this year’s season, the Proms at last finds its way, Red Riding Hood-like, away from the safe, well-trodden path into the unfamiliar terrain of the avant-garde. Twice, in fact; first thanks to the London Sinfonietta, whose afternoon concert at Camden’s Roundhouse last Saturday (there’s presumably a clause somewhere prohibiting anything too radical from being performed within the Royal Albert Hall), conducted by Andrew Gourlay, presented new works by Georg Friedrich Haas, Mica Levi and David Sawer alongside, among other things, Ligeti’s great classic Ramifications. And later that evening, Ilan Volkov and the BBC Symphony Orchestra brought Gérard Grisey’s Dérives to these shores. Quite a day! Read more
Composers habitually form relationships with performers and ensembles, but less often with record labels. And while various labels have put out one or two releases featuring the music of Michael Finnissy, only one, Metier, part of the multi-faceted Divine Art Recordings Group, has shown substantial long-term commitment to his output. To date, Metier has devoted no fewer than 12 albums to Finnissy, comprising a whopping 18 hours of his music, the earliest, Folklore, released in 1998, the most recent, Singular Voices, earlier this year. So to continue my celebrations of Finnissy’s 70th birthday, over the next few months i’m going to take a look back at this diverse collection of discs, beginning with those featuring his vocal music.
Three Proms, three world premières, three concertos, one for violin, two for cello, all lasting around 25 minutes. The similarities between them go little deeper than these most basic facts, though, each occupied with a very particular soundworld, aesthetic, and relationship between soloist and orchestra. The results were similarly mixed. Read more
A pair of paintings by Scottish artist Joan Eardley constitute the starting point of Helen Grime‘s new two-part work, premièred last week at the Proms, Two Eardley Pictures. The paintings are of the same place, the Scottish coastal village of Catterline (where Eardley lived and worked), painted from similar but subtly different viewpoints, both portraying its houses and fields beneath the sullen grey of a heavy, immense winter sky. They’re beautiful images, conveying a directness and authenticity that immediately pull one into their biting chilly freshness. It takes a certain amount of goodwill to find parallels in the music Grime has composed; aesthetically, it often sounds worlds apart from Eardley’s winterscapes. Read more