Luca Francesconi

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

Posted on by 5:4 in Festivals, Premières | 3 Comments

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. Read more

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Proms 2015: the premières – how you voted

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Many thanks for all of your votes on this year’s Proms premières. Having closed the polls yesterday, i’ve crunched the numbers a few different ways and here’s a summary of what you, my esteemed readers, had to say about this year’s offerings.
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Proms 2015: Luca Francesconi – Duende – The Dark Notes (UK Première)

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The concerto form is a popular one for new works at the Proms, and the most recent, Luca Francesconi‘s Duende – The Dark Notes (originally intended for the 2014 Proms), has, i think, set the bar higher than any of the last few years. ‘Duende’ is a somewhat complex Spanish term implying aspects of heightened emotional response to artistic stimulus, which the work’s soloist, violinist Leila Josefowicz, summarises as a “hypnotic, demonic zone in which a performer loses themselves in the feeling and emotion and in the physicality of what they’re doing […] and it can also be angelic”. To tap into this, and also partly to obviate the pitfall of rehashing conventions, Francesconi has sought to revert “back to primal matter […] something which is hidden energy; [an] unknown, uncharted land which is within each one of us, beyond originality”. Read more

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