Anna Meredith

Proms 2015: the premières – how you voted

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Many thanks for all of your votes on this year’s Proms premières. Having closed the polls yesterday, i’ve crunched the numbers a few different ways and here’s a summary of what you, my esteemed readers, had to say about this year’s offerings.
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Proms 2015: Luke Bedford – Instability & Anna Meredith – Smatter Hauler (World Premières)

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Stability, progression, continuity, predictability, coherence: these concepts jostle, intermingle and regularly find themselves redefined in a lot of new music. And in two recent Proms premières, they felt overtly prominent, Luke Bedford‘s Instability and Anna Meredith‘s Smatter Hauler. This prominence was partly deliberate and partly due to the extreme contrasts these pieces exhibited. In the case of Meredith’s piece, given its world première by the Aurora Orchestra (who, it should be pointed out, performed from memory—if only more orchestras would be up for this), the stated aim was associated with musical ideas being ‘stolen’ by different groups of instruments (the title being a reference to Victorian handkerchief thieves, mentioned in a Sherlock Holmes novel). An interesting aim, yet in practice the aural result was a simple gradual yielding between centres of distinct behavioural activity, like slowly shifting one’s gaze from group to group. In more imaginative hands, it might have proved effective; but here, the predictability in the work’s systemic approach combined with materials woefully in want of a cogent, compelling idea, simply led to a dull descent into increasingly blank forms of inarticulate bludgeoning. Rarely has a creative vacuum made so much empty noise. Read more

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Anna Meredith – Four Tributes to 4am (World Première)

Posted on by 5:4 in Premières | 1 Comment

It’s high time we caught up with some premières here on 5:4; there have been quite a few on Radio 3 in the last few months, and by the look of things, there are going to be many more in the near future. Last night, the first performance of a new work by Anna Meredith was broadcast, performed by sinfonia ViVA (a group i’d not come across before) under the direction of André de Ridder. Meredith’s relationship to the ensemble is “Composer in the House”, and both that title, together with sinfonia ViVA’s choice of upper-/lower-case tomfoolery, suggest an attempt at a slightly edgy, Jamie Oliver kind of attitude to music-making, piled high with lashings of street cred.

What Meredith provided seems entirely in keeping with that model; titled Four Tributes to 4am, her piece originates in an exploration of “the crossover point between yesterday and tomorrow, at the deadest part of the night”. Inspiration for this came via an autumnal perambulation round the city of Derby, soaking up the urban atmos. Meredith has focussed on four geographical points that are then depicted as musical ‘portraits’. Read more

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