concerto

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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Proms 2011: Kevin Volans – Piano Concerto No. 3 (World Première)

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If one thing has dominated the premières at this year’s Proms, it’s the presence of the concerto; thus far, we’ve heard no fewer than six (Dalbavie, Carter, Holloway, Holt, Larcher and Aperghis), with more coming in the days ahead. Monday’s Prom brought yet another concerto into being, Kevin VolansPiano Concerto No. 3, performed by Barry Douglas with the BBC Symphony Orchestra, conducted by Thomas Dausgaard.

The opening few minutes give a clear indication of what lies ahead, the piano presenting a stabbing ostinato that immediately infects the orchestra, responding in glittering accented chords. The piano then dissolves into a fluid, grace note-strewn passage, bringing proceedings briefly to a halt; starting up again, the sections of the orchestra now take turns to predominate. This is the essence of the piece, and also its unifying aspect, since Volans is not concerned here with conventional notions of material development. He has very different ideas, and indeed, his working method—each day to continue where he’d left off, making no amendments to previous work—is audibly etched into the grain of the music. It neither develops nor evolves; in a sense, it unfolds, but even this doesn’t quite fit; perhaps all one can say is that it just happens, swiftly passing from idea to idea with only the barest of constants. There are occasions when Volans allows himself to revisit earlier material, but for the most part, this concerto is a flight of fancy, restlessly keen to press on, with barely a glance behind. Read more

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Proms 2011: Peter Maxwell Davies – Il rozzo martello; Georges Aperghis – Champ-Contrechamp (World Première); Harrison Birtwistle – Angel Fighter (UK Première)

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Last Saturday’s Proms matinee was devoted to new music, featuring no less a line-up than the BBC Singers and the London Sinfonietta, both conducted by David Atherton.

The concert opened with Peter Maxwell DaviesIl rozzo martello, a sombre and rather austere choral work that comes across as older than its mere 14 years would suggest. Unlike so many composers of contemporary choral music, Max is happily unequivocal in his mode of expression, but this also makes the piece a bit of a tough listen, so it benefits from repeated listenings, which ‘soften’ the ostensibly hard edges. It proves, at times, to be captivating; the opening, where overlapping plainsong-esque lines sustain their final note, gradually building a rich chord, is a rather magical way to start the piece, and it ends no less impressively, in a deliciously soft morass of lower voices. It’s often the male voices who have the most striking material, including a dense homophonic episode around halfway through, and some unexpected loud whispers towards the end. A difficult piece, no doubt, but given half a chance, an increasingly rewarding one. Read more

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Proms 2011: Thomas Larcher – Concerto for Violin, Cello & Orchestra (World Première)

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Last Thursday’s Prom was an all Austrian affair, opening with the world première of Thomas Larcher‘s Concerto for Violin, Cello & Orchestra; Viktoria Mullova and Matthew Barley were the soloists, pitted against the BBC Scottish Symphony Orchestra directed by Ilan Volkov.

Beforehand, one wondered if it might prove to be the most tantalising new work heard this year; alongside the twin soloists, Larcher has included a peculiar concertino quartet comprising accordion, electric zither, percussion and prepared piano (played by Larcher himself). Within minutes, though, it became abundantly clear that we were in very similar territory to that explored by Pascal Dusapin in his String Quartet/Concerto ‘Hinterland’/’Hapax’ three weeks ago. Throughout the first movement, Larcher, too, is hyperactive almost to the point of absurdity, but certainly well beyond the point of irritation. His material feels like the result of a large-scale collage, one put together from microscopic, barely-similar fragments. There are, admittedly, notions of unity in the movement—an occasional returring motif, and an oscillating chord progression redolent of film music—but they can do little to prevent the music from coming across as skittish and schizophrenic. Read more

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