Dieter Ammann

Proms 2019: the premières – how you voted

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

Many thanks to all of you who took part in this year’s Proms première polls. As ever, there was a stark imbalance in the number of votes certain works received, but interestingly, whereas in previous years this tended to be focused on works performed earlier in the festival (since there was more time available to vote for them), this year more than ever there was a much more even spread throughout the season as a whole, including pieces premièred quite late. Not surprisingly, it was the better-known composers and/or the most substantial works that garnered the greatest number of votes, while the four short pieces commissioned to ‘respond’ to music by Bach received least interest of all – which arguably says something about how worthwhile it was for the BBC to continue to flog that particular horse.

Speaking of disinterest, it was one of those Bach-related works, Ailie Robertson‘s Chaconne, that received the biggest ‘Meh’ response overall, closely followed by Freya Waley-Cohen‘s Naiad, while at the opposite extreme, the work that proved most divisive was Tobias Broström‘s Nigredo – Dark Night of the Soul, with opinions strongly polarised. But away from the shrugs and the bickering, here are the main winners and losers of this year’s Proms, as voted for by you. Read more

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Proms 2019: Dieter Ammann – Piano Concerto (“Gran Toccata”) (World Première)

Posted on by 5:4 in Festivals, Premières | 7 Comments

None of the premières so far at this year’s Proms has left me with a more conflicted first impression than Dieter Ammann‘s new Piano Concerto, given its first performance on Monday by Andreas Haefliger with the BBC Symphony Orchestra conducted by Sakari Oramo. The basis for that reaction is wrapped up in trying to decide whether the piece is full of contrasts or contradictions. Considering its essential behaviour, if were a 5- or even 10-minute work it would be quite easy to write it off as all – or at least predominantly – superficial froth. Yet at over 30 minutes’ duration, that’s not the case at all, it’s not a work that can be taken lightly. Yet the extent to which – and the way in which – it can be taken seriously is another quandary. One thing that’s certain, though, is the importance of its subtitle: “Gran Toccata” – any ‘toccata’ worthy of the name is going to consist of a fair amount of fleet-footed material that twists and turns in unpredictable ways. Ammann’s Piano Concerto doesn’t simply do this, it embodies this. Read more

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