This year’s new carol commissioned by King’s College, Cambridge for the Festival of Nine Lessons & Carols was written by Swiss composer Carl Rütti. There’s not really a great deal one can say about it; Rütti was always going to deliver something cosy and comfortable, which for that reason alone perhaps makes him a fitting choice for what is inevitably a cosy and comfortable occasion. His piece, In this season of the year, sets a Latin text celebrating the virtues of Christ while simultaneously giving regular shout-outs to the Virgin Mary. Rütti uses a lilting melody with a simple rhythmic idea as the basis for a series of variations that gradually get more elated as the verses progress. Not exactly adventurous, but hardly offensive, its most charming moment comes right at the very end, when Rütti discreetly places the sound of a bird in the organ, a “short tribute” to a soprano in the choir Cambridge Voices who died at the same time Rütti completed the piece.
The only other contemporary offerings were homages to the two grand old dukes of new music, Peter Maxwell Davies and Harrison Birtwistle, both of whom turned 80 this year. Read more
On the one hand, the BBC’s decision not to provide online programme notes in any form for this year’s Prom concerts is as hard to understand as it is unequivocally idiotic. On the other hand, it forces listeners to engage with music on its own terms, without the cosy couch of propaganda provided by the composer or one of their flock. In the case of Harrison Birtwistle‘s latest work, The Moth Requiem, given its first UK performance at Cadogan Hall yesterday, not even the audience was given programme notes(!), but perhaps it was just as well. In his pre-performance talk, Birtwistle spoke at length about the disappearance of cherished things & people, in addition to citing his own (as he sees it) looming demise. A melancholy theme indeed, but Birtwistle positively bristled at the prospect of writing something “soppy”, all but suggesting that the only decent way to confront such painful loss was via anger. Sadness was implied, but conspicuous by its absence; if we are to take the composer at face value, The Moth Requiem, adopting the names of extinct moths as a metaphor for loss, has anger as the central characteristic of its mode of expression. Read more
A couple of summers ago, the Beloved & i could be found on a small boat offshore from the idyllic town of Portree, on the east coast of the Isle of Skye. Taking in caves & sea eagles, we sailed along the edge of the smaller island of Raasay, a sparsely-populated but beautiful sliver of land nestling between Skye & the Scottish mainland. This remote place was home to Harrison Birtwistle during part of the 1970s & ’80s, & is central to the last string quartet i’m featuring in this year’s Lent series, his Tree of Strings, composed in 2007. The title originates in a poem written by another Raasay resident, the renowned Hebridean poet Sorley Maclean (whose work i highly recommend), & the piece seeks to tap into both subjective memories & objective history of Raasay, a place that, despite its diminutive size, saw its fair share of drama, both with respect to the Jacobite conflict as well as piracy. Read more
Last weekend’s Proms Matinee was the concert i had been most eagerly awaiting in this year’s season, featuring as it did some of my favourite composers & three premières. Back in April i opined that this concert “may just turn out to be the highlight of the whole season”; i think that prediction was pretty close to the mark. Read more