concerto

Proms 2014: Judith Weir – Day Break Shadows Flee (World Première), Zhou Long – Postures (European Première) & John Adams – Saxophone Concerto (UK Première)

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The latest round of Proms premières got one thinking about the relationship between expectation/innovation and engagement. It was Judith Weir‘s new work that got this particular ball rolling around the mind. A composer already at the less adventurous end of the new music spectrum, in recent years her music has increasingly seemed imaginatively torpid, practically treading water. Day Break Shadows Flee, composed for and premièred by pianist Benjamin Grosvenor, went to essentially no lengths at all to challenge that assessment. Read more

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Proms 2014: Simon Holt – Morpheus Wakes (UK Première); Jonathan Dove – Gaia Theory; Gabriel Prokofiev – Violin Concerto ‘1914’ (World Premières)

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The three Proms premières given at the end of last month make for an interesting comparison, with regard to the relationship between material and intention. There was no little weight being hefted around; Jonathan Dove‘s Gaia Theory aspired to James Lovelock’s hypothesis of the same name, concerning ideas of ‘self regulation’ in the systems that make up our planet, whereas Gabriel Prokofiev‘s Violin Concerto took both its subtitle, ‘1914’, and its narrative from aspects arising from the commemorations of World War I. Heavyweight stuff, then, making Simon Holt‘s inspirational starting point of a mythical god waking from slumber seem almost triflingly trivial by contrast. The results, though, were rather different.
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Proms 2014: Qigang Chen – Joie éternelle (UK Première)

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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

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Proms 2013: Peter Eötvös – DoReMi (UK Première)

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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

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

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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

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

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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

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HCMF 2012: Ensemble Resonanz

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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

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