concerto

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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Proms 2011: Simon Holt – Centauromachy

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Simon Holt has been featured at the Proms on numerous occasions over the years, and yesterday his music returned to the Albert Hall with the orchestral work Centauromachy. It was given by the BBC National Orchestra of Wales, with whom Holt is Composer in Association; they were conducted by François-Xavier Roth, who also oversaw the première of the piece in November last year. The work features a pair of soloists, of distinct but not dissimilar timbres: clarinet in A and flugelhorn, played by Robert Plane and Philippe Schartz respectively.

Holt has structured the work in five movements, the shortest of which comes first, featuring the soloists alone. Titled ‘Two natures’, it serves to compare and contrast the clarinet and flugelhorn, which at first take it in turns to attempt to catch each other, scurrying around, imitating, their phrases ending together on a unison note. It’s not until the third and final phrase that they move beyond a relatively narrow pitch space, moving swiftly to occupy distinct registral areas, the clarinet initially high above the flugelhorn, then leaping below it. Following a final chirrup, the second movement, ‘Chiron’s dream’ introduces the orchestra, rapidly materialising like a grand, cinematic fade-in. When the soloists restart their activity, it’s with forceful gestures, but they quickly yield to lines that continue to cling together. A trumpet strikes up a rapport with the flugel, while the strings seek to try something out in their uppermost register, delineated by glockenspiel strikes. Everything coalesces onto a lower note, from which the soloists again recommence strongly but immediately become soft; as earlier, though, Holt keeps the material restless, suggesting a dream that’s not entirely comfortable. Read more

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Proms 2011: Marc-André Dalbavie & Elliott Carter – Flute Concertos (UK Première)

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Yesterday evening’s Prom concert brought not one but two flute concertos, performed by Swiss virtuoso Emmanuel Pahud, together with the BBC National Orchestra of Wales, again under Thierry Fischer’s direction. The two pieces are nearly five and three years old respectively, the first from Marc-André Dalbavie, who turned 50 earlier this year, the second (heard here in its UK première) from Elliott Carter, who will be a staggering 103 years old in December. Despite first appearances, there are commonalities between the two works. Both eschew the contemporary practice of opting for descriptive names; the bald title Flute Concerto has connotations of its own, of course, but nonetheless suggests that deeply programmatic content is not the order of the day. To that end, both also place greatest importance on the surface of the music, inviting the listener first and foremost to place their focus on its undulations. But there the similarities end. Read more

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Barbican, London: Unsuk Chin – Total Immersion

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Yesterday was a long day, spent in the company of the music of Unsuk Chin, the latest composer to be featured in the Barbican’s ongoing Total Immersion series. In some ways, it feels like Chin’s music has been around forever—or, at least, for the last 20 years, since Acrostic-Wordplay first become well-known—yet the paucity of performances of her music in the UK (despite the fact that almost none of the pieces heard throughout the day were new to these shores) mean she’s remained at a distance; serious kudos to the Barbican, then, for hosting such a deserving occasion in this, her 50th year. Lasting from 11am to 10.15pm, the day comprised six events: three concerts, two talks and one film, oscillating about the assorted performance spaces deep in the labyrinthine bowels of the Barbican Centre. Most striking of these were the two orchestral concerts, featuring the London Sinfonietta and the BBC Symphony Orchestra respectively. To say the Sinfonietta tackled ‘smaller’ pieces would be to do them something of a disservice; even when composing for reduced size ensembles, Chin never really composes ‘small’ music, and in any case, her well-known penchant for extensive percussion meant that the kitchen department always occupied the majority of the stage. Speaking of which, one of the talking points of the day was the fact that the stage of the Barbican Hall had needed to be extended by around 6 metres in order to provide sufficient space for all the performers and instruments in the evening concert; due to this, the Barbican made the irrational decision to block off the entire central section of the stalls, relocating all of us who had seats in that area to the sides. The words “health and safety” were mentioned, but it was abundantly clear that an over-cautious approach had been taken, and there was a large amount of audible disgruntlement in the audience. Read more

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Detlev Glanert – Musik für Violine und Orchester (UK Première)

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On 11 February, getting on for 15 years since its world première in Darmstadt, Detlev Glanert‘s Musik für Violine und Orchester arrived in the UK, in the hands of Stephen Bryant and the BBC Symphony Orchestra, under the direction of David Robertson.

The first movement, ‘Cantus’, is linked to Orpheus, who, according to legend, was an inspirational singer. Sedate and measured, the violin’s opening phrases—pensive ascending scales—are slowly taken up by the orchestra, leading to a rudimentary pulse. It may seem facile to speak of an ‘awakening’ at the start of a piece, but there is a distinct sense of the instruments flexing their muscles in readiness for what’s to follow. A confident sforzando begins the movement proper, in which the violin assumes an overtly ‘narrative’ mood, occasionally deviating from prosaic mutterings to engage in a flurry of melodic fancies that seems to receive an eager response from the orchestra. All the same, over time it projects a slightly empty and dynamically flat brand of lyricism, somewhat without a cause; it’s easy to be distracted by the delightful touches going on around it, such as the light repeated notes in the woodwind. Read more

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