Both the title of last night’s BCMG concert, ‘Remembering the Future’, and its prevailing tone emphasised a looking back, and with good reason, as this was the final concert in Stephen and Jackie Newbould’s long tenure running the ensemble. Thankfully, that didn’t cause the evening to sag into mere nostalgia, focusing instead on the world premières of four new commissions, prefaced by a pair of works from BCMG’s repertoire. The ensemble was reduced in size on this occasion to a mere seven players, making the concert more than usually intimate. Read more
A recurring aspect in most of the death-related pieces i’ve recently explored is ambiguity, and that’s even more the case in John Woolrich‘s short work for five players, In the Mirrors of Asleep, composed in 2007. i hope Woolrich won’t take it amiss when i say that what i find most telling is the music’s inconsistent sense of direction and diffuse emotional sensibility. In this context, those are attributes that transcend their inherent uncertainty and speak just as clearly (if not more so) than via direct statement. In essence, the ensemble—comprising flute, clarinet, violin, cello and piano—betrays a thoroughly mixed psychological habitat. There’s radiance to be found, at the start, and at the fringes of various subsequent materials, particularly the music’s tendency (one of several) to express itself through slow melodic movement. These passages allude more than they emote, but that’s mainly because they aren’t afforded the opportunity to fully expound (or wallow in) their heavyweight sentiments. Woolrich breaks them off, often with spritely episodes of light, staccato counterpoint that fall into concentric patterns like multiple ticking clocks. Read more
Last Saturday’s Proms matinee focussed on a work created 60 years ago to mark the Queen’s coronation. Instigated by Benjamin Britten, he & five other composers each wrote a variation for string orchestra based on the Irish tune ‘Sellenger’s Round’; titled Variations on an Elizabethan Theme, the complete suite was given its first performance in June 1953 in a concert marking the coronation at that year’s Aldeburgh Festival. For last Saturday’s Proms performance, given by the English Chamber Orchestra conducted by Paul Watkins, the suite was expanded with two additional variations, composed by John Woolrich & Tansy Davies.