Frederic Rzewski

Forum Wallis 2019 (Part 2)

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The main focus during the five days of concerts at Forum Wallis was on ensemble and chamber music. An important and impressive feature of these concerts was their aesthetic diversity, not showing a marked preference for certain kinds of music-making. This resulted in extremely different – sometimes, practically opposite – works sitting side by side, providing a shifting and engagingly unpredictable experience. That being said, diversity of gender was overwhelmingly absent: just five of the 39 works performed during the festival were by women composers, a pretty bleak statistic that artistic director Javier Hagen would do well to significantly improve in future years.

Three ensembles were featured: two visiting, one in residence. On the opening night, Freiburg’s Ensemble Aventure performed a programme focusing on Latin America. The only piece that overtly referenced this was Javier Álvarez‘s well-known Temazcal for maracas and tape, and while from my perspective the piece, despite its age (composed in 1984), has lost none of its freshness and vitality, it was interesting to compare notes with a trio of young Mexican composers (taking part in the festival’s Composer Academy) who clearly found it rather more irritating, particularly its (to my mind) amusing, folk-infused conclusion. Either way, percussionist Nicholas Reed’s rendition of the work was excellent, not merely meticulous but extremely elegant. Both Leonardo Idrobo‘s macchina and Graciela Paraskevaídissin ir más lejos positioned their materials with utmost care. For Idrobo, the music lived up to its name, turning Ensemble Aventure into a machine-like mechanism that nonetheless exhibited a great deal of spontaneity and caprice; Paraskevaídis’ music was more emotionally-charged, caught between seriousness and volatility, never sounding portentous but packing a lot of emotional weight that interestingly never quite resolved into something concrete. Quema, a trio for oboe, clarinet and bassoon by Natalia Solomonoff, was similarly conflicted, alternating harsh, dissonant tuttis with more thoughtful, inward episodes where the players all felt constricted, as if struggling to make any sound emerge from their instruments; it was all marvellously dramatic. Read more

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New releases: NEOS box sets – Donaueschinger Musiktage 2014, Darmstadt Aural Documents Box 3: Ensembles

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What with the increase in listeners turning away from physical releases in favour of digital downloads, and in light of yet another (admittedly somewhat spurious) article this week offhandedly proclaiming the imminent death of the album, the efforts of German label NEOS to put out large, lavish box sets are both absurd and marvellous in their optimistic enthusiasm. No other label does contemporary music like NEOS; in terms of quality and quantity, they are leaps and bounds ahead of everyone else, with an immense breadth of scope that’s doggedly committed to some of the most risk-taking, experimental music-making going on anywhere.

It’s NEOS who are responsible for issuing annual accounts of the goings-on at the Donaueschinger Musiktage (this year’s begins in a little over a week). The 2014 festival is represented, as usual, with a box set of four discs, though on this occasion the fourth disc is a DVD. The set features twelve large-scale compositions (many of them world premières), running to nearly seven hours of music, affording one the rare opportunity really to immerse oneself in a festival; for once, the cliché that it’s the next best thing to actually being there is entirely true. It would take a dissertation to discuss them all, but there are several that stand out more than the rest, such as Friedrich Cerha‘s Nacht for orchestra, seemingly split down the middle with its first half occupied with complex textures moving from high to low registers. The second half is sparer and more melodic, and has something of the searching freedom that typified the free atonal period; it’s really very lovely, with a later sense of poised tension released in a last-minute burst. For the first 90 seconds of Hanspeter Kyburz‘s Ibant obscuri, barely anything happens; but then, suddenly, it lurches out of the shadows, and the sheer size of his large orchestra makes itself intimidatingly felt in loud shrieks and thrusting accents (i’m not doing justice to it, it sounds literally massive). A bit like Cerha, its latter half has a melodic urge, seeking expression amidst a chaos of wonderfully unpredictable turbulence (including something akin to a wobble-board duet). The final few minutes are thrilling, ending in dazed repetitions of a single low note. Read more

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Proms 2013: the premières – how you voted

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Now that a fortnight has passed since the deafening broohaha of the Last Night, it’s time to look at how you, esteemed readers, have voted in the 5:4 Proms polls. 545 votes were cast this year, and having crunched the results in a variety of ways, here’s a summary of what you thought. Read more

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Proms 2013: Frederic Rzewski – Piano Concerto (World Première) & Gerald Barry – No other people. (UK Première)

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Prophets, visionaries, seers, they’re an acquired taste, are they not? Often they get relegated to an idealistic niche characterised as “head in the clouds”—yet a more careful survey reveals that most luminaries are among the most earthly-wise and practical of people. This difficult-to-digest paradox coloured much of the music at yesterday’s late night Prom, which, alongside Feldman’s timeless Coptic Light, featured the UK première of Gerald Barry‘s 2009 work No other people. and the first performance of Frederic Rzewski‘s new Piano Concerto, performed by the composer with the BBC Scottish Symphony Orchestra, conducted by Ivan Volkov. Read more

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