Colin Matthews

Proms 2015: Colin Matthews – String Quartet No. 5 (European Première) & James MacMillan – Symphony No. 4 (World Première)

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At the start of last week, the Proms saw important premières from two veterans of new music, Colin Matthews and James MacMillan. Both composers have a demonstrative relationship with music from earlier times, producing work that often seeks to find a comfortable marriage of old and new, looking back and forth simultaneously. The titles of both pieces bear some witness to this too, ostensibly bald, functional titles yet which carry centuries’ worth of connotation and legacy. Read more

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Proms 2013: the premières – how you voted

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Now that a fortnight has passed since the deafening broohaha of the Last Night, it’s time to look at how you, esteemed readers, have voted in the 5:4 Proms polls. 545 votes were cast this year, and having crunched the results in a variety of ways, here’s a summary of what you thought. Read more

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Proms 2013: Colin Matthews – Turning Point (UK Première)

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Having hitherto bewailed the fact that more challenging composers (Finnissy, Lachenmann et al.) are kept at bay from the Proms for decade after decade, last Monday’s new work came from Colin Matthews, a composer almost wildly over-represented at the festival; Matthews’ new work, Turning Point, was the 22nd of his to be featured at the Proms, a statistic that ought to raise even more eyebrows than those accompanying the glaring composer absences. Judging from the programme note, the piece evidently caused Matthews difficulties in knowing how to proceed, leading to him putting the score aside for over a year. The solution seems to have been to turn the work into a diptych, the second panel of which contrasts hugely with the first. Having finally made it to the concert hall, Turning Point was given its first performance in January 2007 by its commissioners, the Royal Concertgebouw Orchestra; Monday’s UK première was by the BBC National Orchestra of Wales directed by Thomas Søndergård. Read more

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Proms 2011: Colin Matthews – No Man’s Land (World Première)

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Sunday night’s Prom brought the world première of a new work from Faber’s finest, Colin Matthews: No Man’s Land for tenor and baritone soli and orchestra. Commissioned by Richard Hickox immediately prior to his death in 2008, it was presented by the orchestra Hickox himself formed 40 years ago, the City of London Sinfonia, directed by Stephen Layton, with soloists Ian Bostridge and Roderick Williams. Matthews’ text is by Christopher Reid, recounting an exchange between the ghosts of two soldiers, Captain Gifford and Sergeant Slack, whose bodies hang on barbed wire in no man’s land.

On the one hand, being charitable, perhaps the context was inopportune, coming as it did just a couple of days after Sir Harrison Birtwistle‘s brilliant Angel Fighter (also a work featuring two vocal soloists). But that can only go so far to mitigate the dreadful way with which this piece comports itself; far from striking the dignified stance that Matthews presumably intended, it was instead slowly unveiled as a ramshackle, shoddily stitched together patchwork of wafer-thin attempts at evocation. We’re fortunate—no, we’re blessed—in recent times to have seen the slow, steady rise of hauntology, a unique kind of musical aesthetic that can powerfully reach into the past and reflect it back at us with genuine sincerity and authenticity, stained and sullied (as it must be) by the gulf that separates then from now, and by our increasingly tenuous grasp on increasingly distant things. But what Matthews gives us in No Man’s Land is little more than a contrived collection of pastiche confectionary, coloured so as to appear moderately grim and stone-faced. Read more

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Proms 2010: Colin Matthews – Violin Concerto (London Première) plus Stockhausen, Birtwistle, Bedford and Zimmermann

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Tonight’s Proms première found itself nestling among an assortment of contemporary works, each vying for attention. Given by the BBC Symphony Orchestra under Oliver Knussen’s direction, the concert opened with Stockhausen‘s 1977 work Jubilee, a 16-minute work hysterically described by some as an ‘overture’ (!!). Of course, it’s nothing of the kind, but is rather a broad orchestral tapestry, burgeoning with richness, fragranced heavily with the aroma of ritual. It begins, and remains for some time, with a fairly solemn demeanour, although the incessant high percussion tantalises and hints at more beyond. As it develops, increasingly soloistic strands start arcing out from the texture, highly virtuosic, and the latter half of the work seems to pass in almost no time at all, growing in scale and scope with each passing minute, culminating in a vast hymn-like mass of sound that is utterly thrilling. A splendid example of Stockhausen’s well-worn ‘formula’ compositional approach in action. Read more

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