concerto

Proms 2015: Luca Francesconi – Duende – The Dark Notes (UK Première)

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

The concerto form is a popular one for new works at the Proms, and the most recent, Luca Francesconi‘s Duende – The Dark Notes (originally intended for the 2014 Proms), has, i think, set the bar higher than any of the last few years. ‘Duende’ is a somewhat complex Spanish term implying aspects of heightened emotional response to artistic stimulus, which the work’s soloist, violinist Leila Josefowicz, summarises as a “hypnotic, demonic zone in which a performer loses themselves in the feeling and emotion and in the physicality of what they’re doing […] and it can also be angelic”. To tap into this, and also partly to obviate the pitfall of rehashing conventions, Francesconi has sought to revert “back to primal matter […] something which is hidden energy; [an] unknown, uncharted land which is within each one of us, beyond originality”. Read more

Tags: , , , , ,

Proms 2015: HK Gruber – into the open …; Hugh Wood – An Epithalamion, Or Mariage Song (World Premières)

Posted on by 5:4 in Festivals, Premières | 1 Comment

Proms premières come in all shapes and sizes, and last week’s new works from HK Gruber and Hugh Wood were larger and more aspirational specimens. Scale and stature are different things, though, and despite their respective composers’ demonstrative ambition (and experience, composing veterans both), each of these pieces were hobbled by considerations that would have been less problematic in smaller-scale forms. Read more

Tags: , , , , , , , ,

Rebecca Saunders – Void (World Première)

Posted on by 5:4 in Lent Series | 2 Comments

To bring my Lent Series to an end, i’ve chosen a work rather fitting to the general atmosphere of Easter Eve, Rebecca SaundersVoid, for two percussionists and chamber orchestra. Saunders was recently awarded the 2015 Mauricio Kagel Music Prize, for composers who, among other things, “are forever in search of new forms of artistic expression and explore new aspects of musical reception”; it’s a description that aptly summarises Saunders’ music in general, and Void in particular. The work bears a few familiar hallmarks, beginning with a typically allusive single-word title, allusions that once again find the beginnings of their articulation in the writings of Samuel Beckett. On this occasion, Saunders’ inspiration comes from the last of Beckett’s tortuous Texts for Nothing; the text doesn’t actually include the word ‘void’, although it would seem to be an implicit omnipresence behind the breathless monologue, which, in reference to a ‘voice’, bears resonances with Saunders’ earlier work, not least her 2006 ensemble work a visible trace:

A trace, it wants to leave a trace, yes, like air leaves among the leaves, among the grass, among the sand, it’s with that it would make a life, but soon it will be the end, it won’t be long now, there won’t be any life, there won’t have been any life, there will be silence, the air quite still that trembled once an instant, the tiny flurry of dust quite settled.

Read more

Tags: , , , ,

Arne Nordheim – Spur

Posted on by 5:4 in Lent Series | 1 Comment

For the penultimate work in my Lent Series exploring concertos, i’m turning to the innovative Norwegian composer Arne Nordheim, who died in 2010. He composed Spur for accordion and orchestra 40 years ago; the title is a German word meaning ‘track’ or ‘(foot)print’, which here, in part, relates to the sociological connotations that the concerto has for Nordheim:

The history of the concerto as a medium of communication is without any doubt closely interlinked with its role as intermediary between social convention and individual freedom and the process through which individual creativity is absorbed to become common property, leaving behind footprints and signposts in culture.

The programme note also alludes to the footprints made by the soloist on the rest of the players. And this, i think, is what projects most immediately, as the accordion’s very particular timbral qualities—which consistently blur the distinction between acoustic and electronic—make an instant impression on the orchestra, befuddling and inspiring it in equal measure. Low undulating buzzes, eerily static high pitches, wild dissonant scrunches, angular acrobatic leaps, each of these appear in the soloist’s music within minutes and, although they will eventually form the blueprint for most of their activities, the orchestral reaction initially seems not to have a clue what to do in response. They emit a huge burp, but then opt, via the strings, for an ethereal collection of slow-moving lines, providing the context for the soloist to quieten and become pensive. That gear-change was instigated by the orchestra, and as if reflecting on that point, the accordion becomes more forceful, resembling a surly, pocket-sized brass/wind section. Read more

Tags: , , , ,

Pierre Boulez – Domaines

Posted on by 5:4 in Lent Series | 2 Comments

Joyeux anniversaire, Pierre!

Today’s the day, the 90th birthday of Pierre Boulez, and, continuing the concerto theme, the piece with which i’d like to celebrate the occasion is Domaines, for clarinet and orchestra, completed in 1969. Typically, the piece began life a decade earlier (early sketches pertaining to it, tentatively titled ‘Labyrinthe’, date back to April 1959), and also typically evolved via the material for other compositions. During the 1960s Boulez was working on a cantata for baritone and ensemble, setting texts by E. E. Cummings; this would ultimately lead, in 1970, to cummings ist der dichter, but a couple of years prior to that Boulez took material from the nascent work, together with ideas for an opera (never completed) and refashioned it into Domaines, both as a solo work as well as one involving six instrumental groups, with a gradually increasing number of players:

  1. bass clarinet
  2. marimba, contrabass
  3. oboe, horn, guitar (amplified)
  4. alto trombone, 2 tenor trombones, bass trombone
  5. flute, alto saxophone, bassoon, C trumpet, harp
  6. 2 violins, 2 violas, 2 cellos

Read more

Tags: , , , ,

Pierre Boulez – Messagesquisse

Posted on by 5:4 in Lent Series | Leave a comment

The second concerto-esque work by Pierre Boulez that i want to explore this week is Messagesquisse for cello solo and six cellos. The gestation of this piece was very much more straightforward than that of Mémoriale, being composed in 1976 as a 70th birthday present for that great champion of so much contemporary music, Paul Sacher (Boulez’s Sur incises would be another birthday present for Sacher 20 years later). The title overlaps the words ‘messages’ and ‘sketch’ at the letters “es”, being both the first letter of Sacher’s surname and the German term for the pitch E-flat. This is indicative of the kind of thing Boulez gets up to in Messagesquisse, where Sacher’s entire surname is translated into musical pitches—E♭, A, C, B♭ (H in German), E, D (presumably from the solfège Re)—forming a hexachord that is subjected to considerable serial and motivic treatment. Sixes occur elsewhere too: as well as the ensemble group of cellos, the work is structured with this many sections. Read more

Tags: , , , ,

Pierre Boulez – Mémoriale (…explosante-fixe… Originel)

Posted on by 5:4 in Lent Series | 3 Comments

This week marks the 90th birthday of Pierre Boulez, and to mark the occasion i’m going to explore three of his concerto-esque works, beginning with Mémoriale, composed in 1985. Well, that’s not strictly accurate; one of the characteristic traits of Boulez’s output is an ongoing tendency to rethink and recompose previous work. It all began in 1971 with the death of Igor Stravinsky, when Tempo magazine invited various composers to contribute short pieces for a commemorative issue, published late that year. Boulez demured (the request was for canonic works, which he found both a strange and unappealing idea), but it began a thought process that would lead to the first incarnation, in 1972, of a work for three instruments titled …explosante-fixe…. It was soon replaced with another version for flute, clarinet, trumpet, three strings, harp and electronics, but Boulez was dissatisfied with this version too due to complexities with controlling the technology (involving an evidently cumbersome and fragile device called the Halaphone). Some years passed before, in the early 1980s, Boulez began working towards a new version, now collaborating closely with Ensemble InterContemporain’s principal flautist Lawrence Beauregard. When Beauregard died in 1985, Boulez decided to take some of the material from …explosante-fixe… and rework it into a tribute, which became Mémoriale (…explosante-fixe… Originel) for flute and eight instruments.
Read more

Tags: , , , ,