Melinda Maxwell

BCMG, CBSO Centre: Weir, Bedford, Baker, Maxwell, Skempton, Woolrich, Martlew

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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

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BCMG, CBSO Centre: Schuller, Abrahamsen, Anderson, Brennan, Maxwell, Stravinsky

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Last night’s concert given by Birmingham Contemporary Music Group, conducted on this occasion by Oliver Knussen, was a typically tightly-packed affair, featuring seven works (plus an encore) that, despite their respective brevity, added up to a concert that was surprisingly lengthy and filling. Calling it an embarrassment of riches wouldn’t be exactly right, although both of those epithets made their presence felt. Of the former, there was the usual helping of forgettable Faberian froth, represented this time by Julian Anderson‘s The Comedy of Change and, to a lesser extent, Polly Roe by BCMG’s new Composer-in-Residence Patrick Brennan. Anderson’s overlong, seven-movement work—the title of which bore no relation to what one actually heard—was another iteration of his endless recycling of the same small pool of ideas, spiky staccatos firing away upon distorted unison melodic blather, not so much animated as made to twitch like electrified frog’s legs with large doses of velocity and rhythmic rigour. Read more

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