Hannah Kendall

Proms 2018: Georg Friedrich Haas – the last minutes of inhumanity; Hannah Kendall – Verdala; Isabel Mundry – Gefallen; Luca Francesconi – We Wept (World Premières)

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The London Sinfonietta’s Prom concert at The Roundhouse, on 21 July, marked the 100th anniversary of the end of World War I with great works by Messiaen and Ives, plus a quartet of world premières, commissioned to explore aspects associated with the conflict and its aftermath. Composers are often at pains either to avoid extra-musical content entirely or, if present, to play down its significance and play up the subjectivity of the listening experience. One of the few exceptions to this is war music, when composers can breathe a sigh of relief in the expectation that they can lean on programmatic associations to, at least, steer audiences in the right general direction.

Listening to these four pieces, three of which included mezzo-soprano Susan Bickley, it was impossible not to acknowledge their ‘war credentials’ due to the way they were presented, surrounded by discussions with three of the composers about their respective inspirations. Yet the extent to which they spoke with authority, or even authenticity, on this subject, was by no means as obvious.

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Proms 2017: Hannah Kendall – The Spark Catchers (World Première)

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The latest orchestral work by British composer Hannah Kendall received its first performance a couple of nights ago at a late night Prom given by Chineke! Orchestra, the flagship orchestra of the Chineke! Foundation, established a couple of years ago “to provide career opportunities to young Black and Minority Ethnic (BME) classical musicians in the UK and Europe”. As she described in her answers to my pre-première questions, her new piece The Spark Catchers takes its inspiration and title from a poem by Lemn Sissay. The text pays homage to the London matchgirls who in 1888 went on strike in protest at their long hours, meagre pay and dangerous working conditions, involving serious, potentially fatal, risks to their health. Throughout the poem, Sissay plays on the triple-meaning of the word ‘strike’, alluding to the industrial action as well as the motion that causes matches to ignite (in hindsight, i wonder whether ‘Strike’ would have been an even more suitable title for Kendall’s piece), but most specifically the call that went up in the factory when a loose spark shot out, threatening to set everything ablaze, whereupon one of the women would leap to catch the spark before it could touch anything. Requiring a remarkable combination of reflexes and dexterity, Sissay praises “the magnificent grace / The skill it took, the pirouette in mid air / The precision, perfection and the peace.” Read more

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Proms 2017: pre-première questions with Hannah Kendall

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Today’s late-evening Prom given by the Chineke! orchestra opens with a new work by British composer Hannah Kendall, titled The Spark Catchers. In preparation, here are Kendall’s answers to my pre-première questions, together with the work’s programme note. Many thanks to Hannah for her answers. Read more

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