Benedict Mason

BCMG, CBSO Centre: A Portrait of Benedict Mason

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Portrait concerts are rarely so eye-opening or indeed eye-popping as BCMG’s for the composer Benedict Mason given at the CBSO Centre on Sunday evening. The point of such concerts is obvious, but it’s hard in hindsight to determine whether or to what extent this one really demonstrated a coherent idea of its subject. In some respects, they hadn’t made this an easy objective, featuring just two works by Mason bookending music by Charles Ives.

The first, Nodding Trilliums & Curve-Lined Angles, a work commissioned and premièred by BCMG in 1990, and directed on this occasion by Ilan Volkov, has timbre as an overriding concern. The six movements are both characterised by and named after the respective sources that dominate them: Xylophones, Rattles, Drums, Toys, Claves, Vibraphone. They act a bit like windows opening out onto vividly depicted, self-contained worlds, and despite their generally conservative character, with echoes of Stravinsky here and there, these worlds are convincing and enticing. By turns one encounters exhilaratingly motoric jollification; ticklish music pieced together from an array of nervous tics; terminally unstable music that, due either to ineptitude or inebriation, keeps falling over; an apparent sunrise over an impossible zoo, the gentle, mellifluous context of the former filled with strange ululations, calls and whistles of the latter; an exercise in engineered misalignment, triggered and exacerbated by the four percussionists walking around the space like politicians clamouring for support, advocating wildly different policies on tempo; and finally a place of the purest magic, where everything has turned to liquid, dripping, flowing, splashing and glinting as its music sloshed around the space, coloured by the work’s most complex harmonic palette. Read more

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Proms 2014: Brett Dean – Electric Preludes, Bernard Rands – Concerto for Piano and Orchestra (UK Premières) & Benedict Mason – Meld (World Première)

Posted on by 5:4 in Premières, Proms | 2 Comments

New works at the Proms regularly come in the form of concertos, violin and piano continuing to be represented most. The planned performance of Luca Francesconi’s Duende – The Dark Notes (a work i’d been very much looking forward to) on 7 August was unfortunately cancelled due to soloist Leila Josefowicz having just given birth to her third son. However, that disappointment was more than mitigated by its fine replacement, Brett Dean‘s Electric Preludes, also a violin concerto—but for the 6-stringed electric violin, accompanied only by strings—and also receiving its first UK performance.

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