concerto

Proms 2014: Qigang Chen – Joie éternelle (UK Première)

Posted on by 5:4 in Festivals, Premières | Leave a comment

The first of this year’s Proms premières came from Chinese composer Qigang Chen, with a new trumpet concerto for Alison Balsom. Inspirationally, the title of the work, Joie éternelle, stems from an acknowledged act of nostalgia on Chen’s part, referencing a melody of the same name from the Kunqu operatic version of The Peony Pavilion, a work Chen heard in his youth. He describes the melody as “delicate and graceful, yet [it] also has an unyielding, instantly identifiable character […] Subsequent encounters with the tune as an adult have thus evoked childhood memories”. However, that title, Joie éternelle, gains additional resonance when one considers that Chen was the last composer ever to study with Olivier Messiaen (Chen’s activities have been split between China and France ever since), and Chen perhaps acknowledges something of this by remarking how the melody’s name has “a quasi-religious connotation”. The work was premièred by Balsom with the China Philharmonic Orchestra, conducted by Long Yu, in Beijing at the start of July, and it was they who gave this first UK performance at the Proms. Read more

Tags: , , , , ,

Proms 2013: Peter Eötvös – DoReMi (UK Première)

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

The penultimate première of this year’s Proms almost didn’t happen last Thursday, when two of the trio of percussionists failed to turn up, resulting in seven or eight rather tense minutes while presumably a host of minions dashed about behind the scenes attempting to find and drag them onstage. It falls to these three players to begin DoReMi, the second violin concerto by Peter Eötvös, so their eventual arrival was met with a generous round of applause as well as, one imagines, some hefty sighs of relief. Eötvös composed the work for Midori, the title being a pun (of sorts) on her name, in addition to its obvious reference to the notes C, D and E (in solfège); she was joined by the Philharmonia Orchestra, conducted by Esa-Pekka Salonen. Read more

Tags: , , , , ,

Proms 2013: Frederic Rzewski – Piano Concerto (World Première) & Gerald Barry – No other people. (UK Première)

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

Prophets, visionaries, seers, they’re an acquired taste, are they not? Often they get relegated to an idealistic niche characterised as “head in the clouds”—yet a more careful survey reveals that most luminaries are among the most earthly-wise and practical of people. This difficult-to-digest paradox coloured much of the music at yesterday’s late night Prom, which, alongside Feldman’s timeless Coptic Light, featured the UK première of Gerald Barry‘s 2009 work No other people. and the first performance of Frederic Rzewski‘s new Piano Concerto, performed by the composer with the BBC Scottish Symphony Orchestra, conducted by Ivan Volkov. Read more

Tags: , , , , , , , ,

Proms 2013: Nishat Khan/Pete Stacey – The Gate of the Moon (Sitar Concerto No. 1) (World Première)

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

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—and at its best, that is definitely the right word—is in its uniquely convoluted appropriation and reinvention of western tropes, served in a form that, to western eyes, is as charming as it is (at times) utterly bewildering and comic. Its supreme success and effectiveness are surely due to the fact that it is the best kind of cultural fusion, built upon twin—and, 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 and music therapist Pete Stacey was commissioned by the BBC to “develop and 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

Tags: , , , ,

HCMF 2012: Ensemble Resonanz

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

The first day of my weekend at HCMF ended back where it had begun, in St Paul’s Hall, for a late-night concert by Ensemble Resonanz, conducted by Peter Rundel. The concert was broadcast live on Radio 3 and comprised just three pieces, all focusing on strings, two of which featured solo cello, played by Jean-Guihen Queyras.

It began with the UK première of Rolf Wallin‘s Ground, the title of which alludes to the cyclic Baroque form of divisions, whereby a repeating bassline (the ground) is gradually overlaid with layers of faster material. That description probably suggests a certain amount of mayhem, but Ground is a decidedly pensive piece—Wallin describes it as “about finding rest”—in which the solo cello is closely surrounded by the rest of the strings, together forming a close collaboration. Furthermore, while the work has no repeating bassline (seven chords are the indiscernible equivalent here), it is highly episodic, exploring an extensive cycle of moods and atmospheres. A collaboration it may be, but it’s an intrepid one, bringing to mind a gradual descent into the earth (a connotation of the title?), passing through increasingly dark and ambiguous layers of strata. What makes the piece particularly interesting is its central melodic identity; Wallin allows tension to manifest itself in diffident, unstable music, but it never comes off the rails, preserving the sense of a pre-planned mission, rather than a mystery tour. At the work’s conclusion it enters its most cryptic episode; bordering on a stasis, both soloist and strings arrange themselves into a dense web of gently wafting notes. It begs the question: is this the ‘rest’ Wallin was striving for? or is the mission not yet completed? Read more

Tags: , , , , , , ,

The concerto reinvented: Jakob Kullberg – Momentum: Nordic Cello Concertos

Posted on by 5:4 in CD/Digital releases | 1 Comment

i’ve commented in the past about the number of contemporary composers drawn to writing violin concertos—they’ve been a regular fixture among the works premièred at the Proms in the last few years—but personally, i’ve always been more drawn to the cello concerto. Composers exploring this medium seem, almost unavoidably, to feel the urge to tap into things deep and profound—or at least, profoundly mysterious. This is definitely what pervades one of the more interesting CDs i’ve been sent recently, a disc that has been strangely ignored by most commentators. Showcasing the seriously impressive talent of Danish cellist Jakob Kullberg, together with the Poland-based New Music Orchestra conducted by Szymon Bywalec, the disc explores cello concertos by arguably the three most renowned Nordic composers, Per Nørgård, Arne Nordheim and Kaija Saariaho. Nørgård’s second cello concerto lends its name to the album as a whole—Momentum—and it’s a wisely chosen title, as the concept of momentum—or more specifically the way it manifests itself within a larger dramatic dialogue—seems to be of central importance in all three pieces. Read more

Tags: , , , ,

Proms 2012: Olga Neuwirth – Remnants of Songs … an Amphigory (UK Première)

Posted on by 5:4 in Festivals, Premières | Leave a comment

i’ve commented before on the number of contemporary concertos that crop up during the Proms, and 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 and 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 and Celan. Neuwirth sees to it that these discrete inspirational forces become incorporated into each other, the work presenting a weird and unsettling amalgam in which fragments from an assortment of earlier musics act as signified elements that regularly cause the uneasy relationship between soloist and orchestra to shift direction. Read more

Tags: , , , , ,