From the recorder to the flute, and a typically dramatic concerto for the instrument by Australian composer Brett Dean. Composed in 2007, The Siduri Dances, for flute and string orchestra, began life three years earlier in Dean’s work for solo flute Demons. The inspirational scope here is broader, drawing on the mythological goddess Siduri who lives by the sea and, in the eponymous epic, gives advice to Gilgamesh, attempting to make him rethink the necessity of his quest for immortality and focus instead on the here and now:
Gilgamesh, where are you hurrying to?
You will never find that life for which you are looking.
When the gods created man they allotted to him death,
but life they retained in their own keeping.
As for you, Gilgamesh, fill your belly with good things;
day and night, night and day, dance and be merry, feast and rejoice.
Dean’s intention seems to be to tap into the spirit of Siduri’s admonition. Read more
A general shift in register now, from low to high, and to a pair of concertos using a reduced orchestra comprising just strings. Dai Fujikura seems to have written his Recorder Concerto despite himself, describing his initial view of the instrument as a pretty negative one. What makes the piece so interesting, i think, is the way Fujikura seems to have overcome that rather awkward starting position. It’s a little hard to articulate, but one’s attention is drawn not so much to the material he has composed for the instrument but to the instrument itself and the way it is behaving. In other words, it feels more a concerto about the recorder than what the recorder is playing. Sort of.
In terms of what actually happens, the setup is pretty simple, with the soloist taking the lead, their articulations serving as a model for the strings. Fujikura makes that very clear at the outset, low flutterings on the recorder translating into tremolandi in the strings; the recorder progresses to a melody made up of fragmented moments, and the strings’ material is equally fractured. Fujikura allows this kind of thing to play out at various points throughout the piece for minutes at a time, enabling two things to happen. Read more
From the cello to the electric guitar, and a curiously strange concerto by Romanian composer Iancu Dumitrescu (husband of Ana-Maria Avram, featured on 5:4 last year). Particularly well-known (and self-described) as a composer with ‘spectralist’ leanings—but not, according to Dumitrescu, in the same way as the French spectralists—his guitar concerto Élan and Permanence seems almost to go out of its way to reduce or at least radically rethink the role of the soloist. Even describing the guitar as a soloist is stretching a point.
Uncertainty reigns throughout the piece, both in terms of the way material is articulated as well as the material itself. Utmost abstract, much of the music takes place as if from a distance which, considering how much energy is regularly displayed, makes for a decidedly weird listening experience. The energy bubbles up to the surface of seething textural masses, punching outwards in the form of brass reports, coagulating into clouds of string tremolandi and unleashing wild percussive outbursts that have a distinctly Varèsian sense of autonomy. This orchestral behaviour, which subsides into glades of middlegrounded repose as much as it lets rip, is curious enough, but the way the guitar interacts with it—if ‘interacts’ is the right word (i don’t think it is)—is downright odd. Read more
It’s interesting to be considering the next Proms première in the wake of having seen, last night, Bollywood’s latest blockbuster offering, Chennai Express. Bollywood’s glory—& at its best, that is definitely the right word—is in its uniquely convoluted appropriation & reinvention of western tropes, served in a form that, to western eyes, is as charming as it is (at times) utterly bewildering & comic. Its supreme success & effectiveness are surely due to the fact that it is the best kind of cultural fusion, built upon twin—&, more importantly, equal—foundations. A benchmark worth bearing in mind when turning to The Gate of the Moon (Sitar Concerto No. 1), the new vehicle for renowned sitarist Nishat Khan, performed on Monday by him with the BBC National Orchestra of Wales conducted by David Atherton. Immediately, it must be stressed that to describe this piece as being ‘by’ Nishat Khan is to bend the truth intolerably. Welsh composer & music therapist Pete Stacey was commissioned by the BBC to “develop & orchestrate” Khan’s ideas, as Stacey explains: “As well as our meetings I would receive recordings. These were the melodies that Nishat wanted to use, and I spent many months developing these single lines into full orchestral pieces.” As collaborations go, looking at the concerto as a whole, Stacey’s contribution arguably outweighs that of Khan, which makes it all the more disingenuous that Stacey’s name should be entirely absent from all of the Proms’ promotional materials. Having said that, perhaps it’s all to to the good, as The Gate of the Moon is a work far more worthy of blame than praise. Read more
i’ve commented before on the number of contemporary concertos that crop up during the Proms, & we were treated to another one from Olga Neuwirth, a 20-minute viola concerto bearing the intriguing title Remnants of Songs … an Amphigory. It was composed in 2009 & premièred that year by its dedicatee Antoine Tamestit; on this occasion, the Philharmonia Orchestra was joined by Lawrence Power, conducted by Susanna Mälkki. Anyone familiar with Neuwirth’s surreal, left-field music won’t be surprised to learn that an amphigory is “a meaningless or nonsensical piece of writing, especially one intended as a parody”. That tongue-in-cheek reference is matched by the more serious first half of the title, which is borrowed from a book that examines “trauma and the experience of modernity” in the writings of Baudelaire & Celan. Neuwirth sees to it that these discrete inspirational forces become incorporated into each other, the work presenting a weird & unsettling amalgam in which fragments from an assortment of earlier musics act as signified elements that regularly cause the uneasy relationship between soloist & orchestra to shift direction. Read more
Last weekend’s Proms Matinee was the concert i had been most eagerly awaiting in this year’s season, featuring as it did some of my favourite composers & three premières. Back in April i opined that this concert “may just turn out to be the highlight of the whole season”; i think that prediction was pretty close to the mark. Read more
Concertos are a regular feature among the new works heard at the Proms, but it’s rare to hear one for two pianos; Richard Dubugnon’s Battlefield Concerto, composed for those most characterful & quirky of siblings, Katia & Marielle Labèque, was therefore a refreshing break from the norm. It was given its first UK performance a little over a week ago by the Labèques with the BBC Symphony Orchestra, directed by Semyon Bychkov. Read more