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
There is, it seems to me, a distinct sense of double-edged sword to the territorial (as opposed to world) premières that feature in each year’s Proms. It’s encouraging, of course, that such fascinating works are introduced to British audiences, but many’s the time one can’t help wondering why on earth they took so long to get here. Last year’s most glaring example was Michael Finnissy’s Piano Concerto No. 2, which took 35 years to be heard here, while the UK première at last night’s Prom, Helmut Lachenmann’s Tanzsuite mit Deutschlandlied, entered the world at the Donaueschinger Musiktage in 1980. Nonetheless, it was most definitely worth the wait.
Both aspects of the title are, as one would expect from Lachenmann, far from obvious. As far as the ‘tanzsuite’ (dance suite) is concerned, the work is structured in five broad parts that contain numerous smaller sections (18 in total), many of which are named after well-known dances, although their characters as well as the points where they begin & end are often tough to discern. The ‘Deutschlandlied’, Germany’s national anthem—better known by its original opening line, “Deutschland, Deutschland über alles”—is even harder to make out, the famous melody barely recognisable at any point in the work. Composed by Joseph Haydn & incorporated into his ‘Emperor’ quartet, Lachenmann has perhaps acknowledged these origins by composing Tanzsuite mit Deutschlandlied for string quartet & orchestra. For this first UK performance, the Bamberg Symphony Orchestra, conducted by Jonathan Nott, was joined by the Arditti Quartet.
A couple of summers ago, the Beloved & i could be found on a small boat offshore from the idyllic town of Portree, on the east coast of the Isle of Skye. Taking in caves & sea eagles, we sailed along the edge of the smaller island of Raasay, a sparsely-populated but beautiful sliver of land nestling between Skye & the Scottish mainland. This remote place was home to Harrison Birtwistle during part of the 1970s & ’80s, & is central to the last string quartet i’m featuring in this year’s Lent series, his Tree of Strings, composed in 2007. The title originates in a poem written by another Raasay resident, the renowned Hebridean poet Sorley Maclean (whose work i highly recommend), & the piece seeks to tap into both subjective memories & objective history of Raasay, a place that, despite its diminutive size, saw its fair share of drama, both with respect to the Jacobite conflict as well as piracy. Read more
Despite their official numbering, the last two string quartets written by Scotland’s most brilliantly inventive composer, James Dillon, were actually composed the opposite way round to how they appear. His String Quartet No. 5 was originally begun as a gift for the Arditti Quartet, to celebrate their 30th anniversary. However, Dillon ultimately put the work aside unfinished, before returning to complete it a few years later, sending it to Irvine Arditti unannounced, now as a gift for their 35th anniversary. In the intervening period, Dillon had already completed what would subsequently be called his String Quartet No. 6. Regardless of the numbers, though, the two works have much in common, in terms of duration (each lasting around 15 minutes) as well as the type & treatment of their material. Read more
Two months may have passed, but memories of the all-too-brief weekend i spent at HCMF 2012 are alive & well; so let’s pick up where i left off.
The second day of my HCMF experience began once again in St Paul’s Hall, confronted by the understated marvel that is the Arditti Quartet. Despite the palpable excitement that pervaded the previous day’s concerts, the atmosphere in the hall on this occasion was that unique kind of highly-charged tension that only a few performers & ensembles can engender. The quartet had brought with them four works that initially seemed strikingly different from each other, but three of them ultimately proved to be united by a common line of enquiry, making the most of out of, materially speaking, very little. Read more