Emily Howard

Proms 2016: Piers Hellawell – Wild Flow, Emily Howard – Torus (World Premières) & Marlos Nobre – Kabbalah (UK Première)

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The most recent Proms premières have demonstrated particularly keenly the highly differentiated approaches being taken by this year’s crop of composers, and while some works at first glance appear to be nothing but effervescence and froth, closer examination proves otherwise. In the case of Piers Hellawell‘s new orchestral work Wild Flow, dedicated to and given its first performance by the Ulster Orchestra, conducted by Rafael Payare, there’s plenty of froth, though it’s been whipped up into a particular dense and sticky consistency. Composed also to mark his own 60th birthday, Hellawell’s aim was to write “immediate” music that “wants to uplift and exalt the spirit”. Four of the work’s five movements are fast and energetic, around a slower central section. The opening, to a clanging bell, suggests the first round in a boxing match, and while Wild Flow isn’t exactly pugilistic, it certainly displays a kind of Varèsian muscularity crossed with a curiously gymnastic melodic attitude. Music seeking to float like a butterfly, sting like a bee, perhaps? Read more

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Proms 2012: the premières – how you voted

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Two weeks have passed since the Proms 2012 season came to an end, so today i’ve closed the polls for each of the works premièred this year. This was the first year that i included polls, and in total 615 votes were cast; thanks to all of you who took part. i’ve taken a careful look at the results, and they make for interesting reading; here’s a summary of how you voted.

Worst New Work

Bob Chilcott – The Angry Planet

69% of readers reacted negatively to this piece, rising to 85% if we include those who could muster only a “meh” in response. It’s understandable really; Bob Chilcott’s considerable abilities did him no favours in this vapid anthology of sentiment. The work’s message—both in terms of words and music—is stale and unconvincing, barely rising to the level of a mere divertissement. It’s hard to tell whether composer and librettist were trying too hard or not hard enough, but either way, it falls woefully short of its elevated aspirations.

Runners up

Eric Whitacre – Higher, Faster, Stronger
Elaine Agnew – Dark Hedges

Eric Whitacre’s full-fat musical confectionary has a proven tendency to distract listeners from its inadequacies, so i was surprised to see that so many 5:4 readers shared my view about his Olympic tie-in new work. 62% of you didn’t like it, and who can blame you? It looked for a while as though Elaine Agnew’s piece would be voted the worst new work, but it rallied some last-minute support that pushed it into third place. Clearly i wasn’t the only one exasperated by its incessant need for percussive novelty, which turned the piece into an irritating slice of bombast, entirely at odds with its evocative inspiration.

Best New Work

Per Nørgård – Symphony No. 7

Per Nørgård’s newest symphony received an overwhelming 91% positive response, which makes for an interesting contrast to the reception of his Sixth Symphony—performed at the Proms ten years ago—which seemed to bamboozle both audiences and critics alike. All the same, Nørgård’s Symphony No. 7 is by no means an ‘easy’ listen (“beautiful and bewildering in equal measure” as i wrote in my review), so it’s heart-warming to see such an uncompromising work meet with such a positive response.

Runners up

Mark Simpson – sparks
Michael Finnissy – Piano Concerto No. 2

Mark Simpson’s reputation has been given a significant boost by coming up trumps with his Last Night work, which managed to be intricate and unusual while remaining immediate and accessible. Michael Finnissy’s music—so rarely heard in the UK—was both a deeply refreshing experience and also something of a revelation, making abundantly clear just how similar so many British composers sound these days. Finnissy, as he always has, stands alone, sounding absolutely unique. i’ll reassert what i wrote in my review, the hope that Finnissy’s music will be heard much more often on these shores in future, particularly at the Proms.

Speaking personally, i broadly agree with how you voted. i think my own favourite of the premières was Finnissy’s Piano Concerto No. 2, but Charlotte Bray’s At the Speed of Stillness was highly impressive too, and Julian Philips’ Sorowfull Songes—which seems to have fallen off the radar of many listeners and critics—and Brian Elias’ Electra Mourns were both surprisingly powerful works. As for the worst, it’s hard to argue with your results, but i’m still staggered by the ineptitude of Emily Howard’s Calculus of the Central Nervous System; mistakes of that magnitude really ought not to be made in public.

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Proms 2012: Emily Howard – Calculus of the Central Nervous System (UK Première)

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Last Tuesday saw the first UK performance of Emily Howard‘s Calculus of the Central Nervous System, an orchestral work inspired by the thinking of the English mathematician Ada Lovelace. Premièred at last year’s Wien Modern Festival by the ORF Radio Symphony Orchestra Vienna, it was performed on this occasion by the CBSO, conducted by Andris Nelsons. Read more

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