Relatively few of the Proms premières include vocal elements, which makes Cheryl-Frances Hoad‘s new work From the Beginning of the World, first performed last Monday, a very welcome exception to the norm. Initially billed as ‘Homage to Tallis’, her piece was nestled amidst a concert otherwise dedicated entirely to the great man’s music, a context that throws down a pretty substantial gauntlet. For inspiration, Frances-Hoad turned to Danish astronomer Tycho Brahe’s detailed account of the “great comet” visible across Europe in 1577. Insodoing, she is appealing both to an innate sense of wonder as well as to more polemical ends, setting words with connotations pertaining as much to present-day resource-depletion and asinine political shenanigans as to 16th century shock and awe. Read more
This year’s new carol commissioned by King’s College, Cambridge for the Festival of Nine Lessons & Carols was written by Swiss composer Carl Rütti. There’s not really a great deal one can say about it; Rütti was always going to deliver something cosy and comfortable, which for that reason alone perhaps makes him a fitting choice for what is inevitably a cosy and comfortable occasion. His piece, In this season of the year, sets a Latin text celebrating the virtues of Christ while simultaneously giving regular shout-outs to the Virgin Mary. Rütti uses a lilting melody with a simple rhythmic idea as the basis for a series of variations that gradually get more elated as the verses progress. Not exactly adventurous, but hardly offensive, its most charming moment comes right at the very end, when Rütti discreetly places the sound of a bird in the organ, a “short tribute” to a soprano in the choir Cambridge Voices who died at the same time Rütti completed the piece.
The only other contemporary offerings were homages to the two grand old dukes of new music, Peter Maxwell Davies and Harrison Birtwistle, both of whom turned 80 this year. Read more
Today’s work in my ongoing series on the subject of death is not contemporary, not in the least, but is one which nonetheless still sounds as vital and as daring as it did when it was premièred 177 years ago. The Grande messe des morts was Hector Berlioz‘s epic response to a commission to write a setting of the requiem mass in commemoration of soldiers who had perished in the 1830 French Revolution. Despite being only his fifth published work, the key word in its title is ‘grande’, as it utilises forces on a scale unprecedented in 1837 and almost never equalled since. Berlioz’s orchestral line-up is huge enough by itself, including 8 bassoons, 12 horns, 16 timpani, 10 cymbals, 4 tamtams, and a string section of 108, but this is expanded further with four separate off-stage brass brands (38 extra players) distributed around the performance space; the addition of a choir numbering at least 200 makes for an assembly of performers rather mind-boggling to imagine. And imagine is what most people have to do with this piece; i was fortunate to experience a performance in The Hague many years ago, but for obvious reasons the Grande messe des morts for the most part remains an under-performed curiosity, famous more for its gargantuan size than for the music itself. Read more
The aspect of death explored in Gabriel Jackson‘s short choral work Justorum animæ is on the peace it brings to the souls of the departed, a fitting theme for today, being All Souls’ Day. The Latin text is drawn from the offertory from yesterday’s liturgies for All Saints’ Day, originating in the apocryphal book of Wisdom, and like so many texts (and human acts) that grapple with death, it is primarily focussed on the living, seeking to bring some reassurance to we who are left behind. Their souls, we are told, “are in the hand of God”, and while the second line seems a bit confusing—how can they not be touched by “the torment of death” when they are patently dead?—the overriding message that no more harm can come to them is self-evidently true.
Jackson’s music embraces the soothing thrust of the words, setting them almost like a lullaby, lilting phrases atop soft, oscillating diatonic chords that appropriately defy a sense of cadential finality. Read more
On the one hand, the BBC’s decision not to provide online programme notes in any form for this year’s Prom concerts is as hard to understand as it is unequivocally idiotic. On the other hand, it forces listeners to engage with music on its own terms, without the cosy couch of propaganda provided by the composer or one of their flock. In the case of Harrison Birtwistle‘s latest work, The Moth Requiem, given its first UK performance at Cadogan Hall yesterday, not even the audience was given programme notes(!), but perhaps it was just as well. In his pre-performance talk, Birtwistle spoke at length about the disappearance of cherished things & people, in addition to citing his own (as he sees it) looming demise. A melancholy theme indeed, but Birtwistle positively bristled at the prospect of writing something “soppy”, all but suggesting that the only decent way to confront such painful loss was via anger. Sadness was implied, but conspicuous by its absence; if we are to take the composer at face value, The Moth Requiem, adopting the names of extinct moths as a metaphor for loss, has anger as the central characteristic of its mode of expression. Read more
Last night the 2013 Proms season began, as it now always does, with a world première from a mainstream composer. At the outset, i have to admit to a certain lack of enthusiasm for the occasion, due both to the recent track record of the opening night (Turnage & Weir in the last two years, both submitting relatively drab, safe pieces) as well as this year’s choice, Julian Anderson, a composer hardly renowned for much beyond accessible, occasionally quirky humdrummery. Anticipation was hardly heightened by Anderson’s pre-concert remark that there were only two options when writing a concert opener: “one is to write a piece that’s very loud and rather like a fanfare, and the other is to write a quiet and more meditative piece”. Seriously? Read more
Newly available this week from the thoroughly ambitious Huddersfield Contemporary Records is Exposure, a collection of choral works performed by contemporary music’s most adventurous cluster of vocalists, Exaudi Vocal Ensemble, directed by James Weeks. As with all of HCR’s releases (the rest of which are well worth exploring – details here), the featured composers are an eclectic mixture, demonstrating well the range of Exaudi’s interests & skills. It is by far the most radical disc of vocal music i’ve encountered in a long time, an exploration that takes real risks both in terms of choice of repertoire as well as the pressures brought to bear on the singers themselves.
Of course, going out on a limb is fraught with dangers, & there are pieces on this disc that work far better in theory than practice. Not many, thankfully, but Joanna Bailie‘s three-part Harmonizing—seeking to tease out pitched material from field recordings & meld it into corresponding vocal parts—lacks conviction in the attempted correlation, & the method (somewhat hackneyed in any case) only seems to emphasise its subjectivity & arbitrariness, narrowing the scope of these ‘artificial environments’. The second of the three succeeds best, but the other two are forced & boring respectively. Bryn Harrison‘s eight voices suffers in similar fashion, the twists of its repeating material (rather like a convoluted isorhythm) sound marvellous as an idea, but the piece displays minimal result from maximum effort, rapidly losing its ability to command attention. Here, though, Exaudi’s deeply impressive control & consistency frequently distract one from the work’s shortcomings.