Nishat Khan

Proms 2013: the premières – how you voted

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Now that a fortnight has passed since the deafening broohaha of the Last Night, it’s time to look at how you, esteemed readers, have voted in the 5:4 Proms polls. 545 votes were cast this year, & having crunched the results in a variety of ways, here’s a summary of what you thought.

Worst New Work

Nishat Khan/Pete Stacey – The Gate of the Moon (Sitar Concerto No. 1)

The Proms première quality control took a real nosedive this year, & no-one can blame you for voting this hackrag as the worst of them. As i mentioned at the time, fingers need to pointed as much at Pete Stacey (who appears to have done most of the actual ‘hard’ work) as Nishat Khan, for creating one of the most ghastly examples of culturally confused, ingratiating sonic ghee you’ll ever have the misfortune to hear. Perhaps there’s a place in society for music that actually makes you feel more stupid while you listen to it (e.g.), but that place really shouldn’t be the Proms.

Runners Up

Diana Burrell – Blaze
Anna Clyne – Masquerade
Gerald Barry – No other people.

i know, right? So it seems when composers aren’t interested in either shocking or flattering us, they’ll opt simply to bore us with half-baked banalities. Not, it has to be said, terribly unpredictable in the case of a couple of these composers, but that doesn’t stop it becoming rather cuttingly irritating as the minutes slowly tick past. It would be pushing it to call Anna Clyne’s Last Night barnstormer “banal”, but it certainly lacked anything approximating originality, so it’s hardly surprising you voted so strongly against it.

Best New Work

Colin Matthews – Turning Point

86% of you gave a positive response to Colin Matthews’ new work, & even though it wasn’t my favourite of the premières, i can see where you’re coming from. Surprise & no little relief accompanied my experience of listening to the piece, particularly due to its refreshing (if rare) determination to avoid Faberian blandaties. “There’s a kind of majesty to it” i opined at the time, & that view hasn’t changed; the kind of dramatic rug-pulling Matthews comes up with, coupled with his nicely effective problem-cum-solution structure, go a long way to making this his most imaginative new work in a long time.

Runners Up

Frederic Rzewski – Piano Concerto
Helmut Lachenmann – Tanzsuite mit Deutschlandlied
Thomas Adès – Totentanz

No arguments here; i enjoyed all three of these works immensely, & they each seem to yield more & more on further listenings. It’s shameful that it took until Helmut Lachenmann’s 78th year before he was featured at the Proms (& 33 years since the Tanzsuite was first heard), but perhaps one should just celebrate the happening rather than picking fights about the wait. i still can’t quite get my head around what Rzewski’s up to in his Concerto; time will tell. As for Totentanz, maybe some of the backroom sneering that’s been a perennial accompaniment to Adès’ career might shut up for a bit in the face of what is a breathtaking addition to the repertoire. i don’t trot out words like ‘masterpiece’ very often, but i cleave firmly to my initial view of the piece, it really does seem to have that written all over it.

As to my own peeves & faves, the ‘new’ works by Philip Glass & David Matthews left me, literally, shouting at the speakers. i’ve wasted enough words on those twin monstrosities, so no need for anything more here, except to say i’m bewildered at the amount of support Glass’ music continues to ‘enjoy’; a little over half the votes for that piece were positive. Go figure. Turning to the triumphs, in addition to the Adès & Lachenmann scores, another favourite of my own this year was a piece that seems to have been skirted over by most of you who voted: Edward Cowie’s Earth Music I – The Great Barrier Reef. Perhaps that was due to a lack of listeners—the title, implying it can be filed under ‘eco-message’ possibly doesn’t help—but if so, that’s a shame, as Cowie’s music manages to get his point across purely through a sense of celebration & wonderment, & his sonic language is disarmingly but invitingly complex. If you haven’t checked it out yet, be sure to do so, as it’s a rather rarefied delight.

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Proms 2013: Nishat Khan/Pete Stacey – The Gate of the Moon (Sitar Concerto No. 1) (World Première)

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It’s interesting to be considering the next Proms première in the wake of having seen, last night, Bollywood’s latest blockbuster offering, Chennai Express. Bollywood’s glory—& at its best, that is definitely the right word—is in its uniquely convoluted appropriation & reinvention of western tropes, served in a form that, to western eyes, is as charming as it is (at times) utterly bewildering & comic. Its supreme success & effectiveness are surely due to the fact that it is the best kind of cultural fusion, built upon twin—&, more importantly, equal—foundations. A benchmark worth bearing in mind when turning to The Gate of the Moon (Sitar Concerto No. 1), the new vehicle for renowned sitarist Nishat Khan, performed on Monday by him with the BBC National Orchestra of Wales conducted by David Atherton. Immediately, it must be stressed that to describe this piece as being ‘by’ Nishat Khan is to bend the truth intolerably. Welsh composer & music therapist Pete Stacey was commissioned by the BBC to “develop & orchestrate” Khan’s ideas, as Stacey explains: “As well as our meetings I would receive recordings. These were the melodies that Nishat wanted to use, and I spent many months developing these single lines into full orchestral pieces.” As collaborations go, looking at the concerto as a whole, Stacey’s contribution arguably outweighs that of Khan, which makes it all the more disingenuous that Stacey’s name should be entirely absent from all of the Proms’ promotional materials. Having said that, perhaps it’s all to to the good, as The Gate of the Moon is a work far more worthy of blame than praise. Read more

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