concerto

Proms 2012: Michael Finnissy – Piano Concerto No. 2, Harrison Birtwistle – Gigue Machine (UK Premières) & Brian Elias – Electra Mourns (World Première)

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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 and 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

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Proms 2012: Richard Dubugnon – Battlefield Concerto (UK Première)

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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 and quirky of siblings, Katia and 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

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Unsuk Chin – Šu

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As as addendum to my coverage of last year’s Total Immersion Day devoted to Unsuk Chin (part 1, part 2), here is one of the few remaining pieces from that day, which was only broadcast a few weeks ago. Šu is a concerto for sheng and orchestra, the sheng being one of the most ancient traditional Chinese instruments, dating back over 3,000 years. Comprising a series of pipes played via a mouthpiece, its sound is something like a cross between a harmonica and an accordion; its appearance is like nothing else at all. Alongside the traditional instrument is a keyed version that enables fully chromatic tempered pitches, and it’s for this instrument that Chin composed Šu.

Šu is one of Chin’s most stubbornly enigmatic works; in both structural and material terms, it doesn’t so much develop as flex, passages of great delicacy repeatedly answered by more brutal outbursts. Wisely, Chin assigns the orchestra to a secondary role, allowing the sheng—an instrument that can barely muster a mezzo-forte—to act as both instigator and guide for proceedings. The ‘flexing’ i spoke of results in an episodic music, although Chin takes an audibly different approach in the two halves of the piece. Read more

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Rebecca Saunders – still (UK Première)

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Tonight saw the UK première of the latest work by Rebecca Saunders, her violin concerto still. Saunders’ music has been a growing musical passion of mine for a while; as such, i’ve already begun a longer article surveying her work, but i’ll leave that for another day, and for now focus on the concerto. It was composed for soloist Carolin Widmann, and the performance, which took place at the Barbican, was given by her with the BBC Symphony Orchestra, directed by Lionel Bringuier. These same forces (directed by Sylvain Cambreling) gave the première of the work last September at the Beethovenfest in Bonn.

The piece is in two movements, together lasting around 20 minutes. In the preamble, Widmann interestingly notes how the piece bore the provisional title rage, a title that seems in keeping for a composer who’s twice written pieces called fury. However, both of those pieces (for double bass solo and double bass plus ensemble respectively) avoid hackneyed tropes of aggression, their protagonists engaged instead in a music that is surprisingly restrained, but pent-up and seething. Read more

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Unsuk Chin – Violin Concerto

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Last year, in my article about the Total Immersion day devoted to the music of Unsuk Chin, i didn’t say much about the Violin Concerto, which was omitted from the BBC’s broadcast. However, in November they finally got round to broadcasting it, so here it is. The performance, at the Barbican in London, was given by Jennifer Koh with the BBC Symphony Orchestra, conducted by Ilan Volkov. In the concert hall, Koh’s violin often struggled to be heard above the considerable orchestral forces pitted against it, so it’s good to hear the balance so nicely restored in the broadcast.

Despite being composed in a familiar, four-movement plan, it’s a piece rather difficult to unpick. In some ways, the textures are simpler and more defined than usual, but this is countered by material that is highly organic. It opens in a dense place, lower notes moving vaguely while the soloist draws a high line filled with open strings and natural harmonics. The brass are the first to become apparent, chords shifting in the background, their movement causing everything momentarily to swell, and then halt. The soloist’s first cadenza is wiry and (in the best sense) aimless, its twists and swoops more a result of fun than purpose. But Chin is just as concerned with momentum as with reverie, and she soon pushes the violin back into a pace that becomes ever more swift, culminating in a moto perpetuo that’s urged on by orchestral stomps. Another cadenza ensues, more rapid than before, and a sustained brass chord ushers in the movement’s climax, which sends the frantic soloist plummeting. The slow second movement places heavy emphasis on Chin’s trademark use of percussion. Read more

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Proms 2011: Harrison Birtwistle – Concerto for Violin & Orchestra (UK Première)

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As already noted, this year’s Proms season has seen an abundance of new concertos, the last and most substantial of which was given its UK première on 7 September: the Concerto for Violin & Orchestra by Harrison Birtwistle. Birtwistle wrote the work for soloist Christian Tetzlaff, who gave the first performance with the Boston Symphony Orchestra earlier in the year; on this occasion he was joined by the BBC Symphony Orchestra, conducted by David Robertson. Read more

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Proms 2011: Michael Berkeley – Organ Concerto

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The Prom concert on the evening of 3 September included a performance of Michael Berkeley‘s rarely-heard Organ Concerto, performed by David Goode with the BBC National Orchestra of Wales. There are few British composers who seem to be so centrally connected to the world of music than Michael Berkeley. Son of Lennox, godson of Britten, Berkeley is arguably best known to many through his broadcasting work on television and radio, although as a composer he’s charted an interesting, if at times, quizzical path. The reason i mention the sense of interconnection projected from Berkeley’s cultural persona is because it’s often struck me that his compositional voice doesn’t so much bubble up from within, but appears to be forged from notions, ideas, mannerisms and traits from a plethora of other composers. That’s not intended as a negative criticism at all; on the contrary, in his best music, Berkeley, far from being a ‘stylistic magpie’, comes across as a sort of æsthetic impresario, in the process generating something quite unique irrespective of the apparently disparate nature of its sources. Read more

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