choral

Proms 2012: Eric Whitacre – Higher, Faster, Stronger & Imogen Heap – The Listening Chair (World Premières)

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Yesterday’s late night Prom focussed on the USA’s most popular manufacturer of choral music, Eric Whitacre. Featuring his own choir joining forces with the BBC Singers and ensemblebash, the concert included two world premières, a new work of Whitacre’s own plus an arrangement by him of a new song by the UK’s most brilliantly eclectic chanteuse, Imogen Heap. Read more

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Proms 2012: James MacMillan – Credo (World Première)

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Wednesday’s Prom concert featured a new work from James MacMillan, a setting of the Creed from the liturgy of the Mass. Composers rarely set the Creed to music, not, i think, simply because it’s such a long and convoluted text (although it is, and this may also in part account for the dearth of contemporary Te Deums). What makes the Creed so different from the rest of the liturgy is its shift of emphasis away from God, focussing instead on oneself. “I believe” are its opening words, and all that follows embeds that personal belief into each of the facets that form the firmament of the Christian faith. So maybe its deep, direct expression of something so personal as faith may cause both composers and audiences to shy away from it. That’s a concert hall thesis; within the context of the actual liturgy, the same situation arguably arises as much from the fact it’s best to allow these words to come from the congregation rather than just the choir. But this Creed is a concert work; and that fact alone is perhaps cause for some celebration. Read more

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Proms 2012: Bob Chilcott – The Angry Planet (World Première)

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The most ambitious of this year’s Proms premières took place yesterday afternoon: Bob Chilcott‘s 45-minute ‘environmental cantata’ The Angry Planet. Teaming up with poet Charles Bennett, Chilcott’s work was performed by the vast combined forces of three children’s choirs (from the London boroughs of Harrow, Kensington, and Chelsea and Westminster) alongside the BBC Singers, the Bach Choir and the National Youth Choir, plus soprano Laurie Ashworth—no fewer than 540 singers in all. The work falls into four movements, each of which contains several anthems; overall, the words move from dusk to dawn, exploring themes associated with environmental damage. Read more

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Proms 2012: Julian Philips – Sorowfull Songes (World Première)

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Yesterday afternoon saw the first new work to be featured in the Proms Chamber Music series. Sorowfull Songes is a small choral song cycle by English composer Julian Philips, setting five texts by the great Thomas Wyatt. Don’t be fooled by the title, though, as there’s nothing remotely Dowlandesque about either the words or the music; both Wyatt and Philips treat the subject matter with a glint in their otherwise doleful eye. Read more

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Symphony Hall, Birmingham: Jonathan Harvey – Weltethos (UK Première)

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Yesterday evening, in Birmingham’s Symphony Hall, Jonathan Harvey‘s large-scale new work for choir and orchestra, Weltethos, was given its first UK performance. The opening event of Birmingham’s London 2012 Cultural Olympiad, when one considers the legacy and reputation of Harvey together with the combined forces of over 300 performers—the CBSO joined by their full choral complement of Chorus, Youth Chorus and Children’s Chorus, plus two conductors (Edward Gardner and Michael Seal) and a speaker in the form of renowned actor Samuel West—in a work of 80 minutes’ duration, it’s hardly surprising that the superlatives and hyperbole had started to fly before even a note had been sounded. Expectations could hardly have been greater, nor hopes higher. To my amazement, they were all emphatically quashed.

Weltethos certainly doesn’t fail in terms of scope or ambition, setting a lengthy text by theologian Hans Küng that seeks to draw on common values from six of the world’s great faiths and philosophies, Confucianism, Judaism, Hinduism, Islam, Buddhism and Christianity. Speaking of these values, Küng says that “[they] need not be invented anew, but people need to be made aware of them again; they must be lived out and handed on.” Yet the problems with Weltethos begin right here. The six values—1) humanity, 2) the so-called ‘golden rule’, that we don’t do to others what we wouldn’t want done to us, 3) non-violence, 4) justice, 5) truth and 6) love—are all deeply significant and important aspects of our interactions one with another, but Küng frames them in such a pallid, dry way that they feel entirely theoretical, one step removed from anything approaching genuine emotion and feeling. Brief paragraphs from each religion’s sacred texts are used to allude to the six values, but in a flat, narrative fashion that seems entirely self-defeating; surely Küng was aiming at a kind of moral/ethical rally cry, but what he’s produced is as motivating as a party political broadcast. Read more

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Apologies; and forthcoming

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Apologies, one and all, for the lengthy hiatus here on 5:4. In a break with convention, i’ve been finishing off two or three new compositions and then—entirely in keeping with recent convention—fighting off a rather stubborn virus. Before service resumes properly, then, let me flag up a couple of performances of these new pieces that are happening next month, both at the Birmingham Conservatoire.

The first is nolite facere dicunt enim, a work for 12 voices written for the vocal group Icarus, based at the Conservatoire. The group, which changes membership each year, is the brainchild of Chi Hoe Mak, one of the most wonderfully effervescent conductors i’ve ever met. It’s not a piece i want to say anything about at this stage, but you can take a look at the full score below. The first performance will be taking place on Wednesday 6 June; the concert starts at 7.30pm and tickets (undoubtedly very cheap) will be available on the door. Do come along and be shocked, appalled, enriched and/or entertained by it if you can.

EDIT: Due to a variety of unfortunate circumstances, this performance has been postponed.

Second is a work for voice and five players called the octave of the grief of the clone that leapt to the remainder of night sky; that title is taken from the writings of one of my ongoing inspirations, Kenji Siratori, as is the sung text, which uses Siratori’s poem Foolish/Moon. It’s not possible to show a score for this piece, as there isn’t one; the five players—clarinet, bassoon, viola, double bass and guitar—are all independent of each other and of the vocalist, although a couple of the players interact and affect the ensemble in different ways. This piece was written for the soprano Ruth Hopkins, who will be performing the piece with members of the ensemble Thumb, also based at the Conservatoire. The concert is on Monday 11 June, starting at 8pm; there may be a performance in Camden later in the year, but more about that as and when. Again, if you’re in the area, do come along.

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Bernat Vivancos – El davallament de la creu (World Première)

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Having spent two days with Italian music, to mark Good Friday i’m turning to Spain, and the music of Bernat Vivancos. Vivancos was born in Barcelona in 1973 and studied composition at the Paris Conservatoire and in Oslo; having returned to Spain, for the last five years he has been musical director of the Montserrat Boys Choir. In Holy Week last year, at a live concert broadcast from the Montserrat Basilica, Vivancos’ new work El davallament de la creu (The Descent from the Cross) was premièred, and it’s not only an interesting addition to the vast repertoire of Good Friday music, but one of the most visceral examples that i know of.

Vivancos creates the work from two kinds of material, utterly different. One of the organs (two are used) is like a force of nature, solely occupied with vast, violent fortissimo plunges from extremely high to deep rumbling clusters; these deep clusters are frequently repeated, like immense blows to the chest. Not so much against this but alongside it, the choir, mysteriously unaffected, move in the opposite direction, making a gradual ascent from an initial low register. Read more

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