ensemble

Proms 2017: Thomas Larcher – Nocturne – Insomnia (UK Première) & Michael Gordon – Big Space (World Première)

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Listening to two recent Proms premières back-to-back, Thomas Larcher‘s Nocturne – Insomnia and Michael Gordon‘s Big Space, turned out to be thought-provoking in ways that i’m sure are entirely unrelated to the composers’ intentions. The reason is that both pieces seem to be poles-apart approaches to creating the musical equivalent of the same thing – an extended road to nowhere – provoking the same response: a hefty shrug. i was going to say these pieces left me floundering, but in truth there’s little in either of them that’s tough to deal with, except insofar as neither provides much beyond or beneath what’s happening on their respective surfaces. Read more

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Proms 2015: Christian Mason – Open to Infinity: A Grain of Sand (UK Première)

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One of the smaller Proms premières, Christian Mason‘s Open to Infinity: A Grain of Sand was commissioned as a part of this year’s 90th birthday celebrations for Pierre Boulez. Fittingly, its world première was given by Boulez’s very own Ensemble Intercontemporain at the Lucerne Festival; its first UK performance at the Proms, a few days later, was given by the London Sinfonietta, conducted by Thierry Fischer. Mason describes the work as having a twofold connection to Boulez, first in terms of the work’s engagement with twin perspectives, focussing on both intricate detail and broader structural durations (the title derives from this, drawing on the opening line of Blake’s Auguries of Innocence: “To see a World in a Grain of Sand”), as well as the use of crotales, involving all 15 players, a reference to Mason’s recollections of Boulez’s orchestral work Le Visage nuptial.
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Proms 2015: Betsy Jolas – Wanderlied (UK Première), Shiori Usui – Ophiocordyceps unilateralis s.l. & Joanna Lee – Hammer of Solitude (World Premières)

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Last Saturday’s Proms Matinee concert given by Birmingham Contemporary Music Group, conducted by Franck Ollu, featured several world and UK premières, which together gave one pause for thought with regard to the relationship between surface materials and their deeper impulsion. Their respective points of inspirational departure were extremely varied, encompassing a peripatetic storytelling cellist, an examination of a parasitic fungus and an intense miniature song-cycle.
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