orchestral

Proms 2014: Ayal Adler – Resonating Sounds & Kareem Roustom – Ramal (UK Premières)

Posted on by 5:4 in Festivals, Premières | Leave a comment

Last week’s visit to the Proms by Daniel Barenboim’s West-Eastern Divan Orchestra brought first UK performances of works by two composers of Middle Eastern descent. Ayal Adler and Kareem Roustom, born in Jerusalem and Syria respectively, opted for compositional approaches that in some ways could be described as opposite. Adler, coming from a starting point of pure sonics (“an echo, or a reminiscence of sound, lingering after the vast chords slowly fade away”), aimed for an emphatic example of abstraction; by contrast, Roustom’s course was charted via the metrics of pre-Islamic poetry and a concrete intention to “reflect” on the ongoing violence in Roustom’s native land. Both works suffered at the hands of these divergent aims. Read more

Tags: , , , , , ,

Proms 2014: Simon Holt – Morpheus Wakes (UK Première); Jonathan Dove – Gaia Theory; Gabriel Prokofiev – Violin Concerto ‘1914’ (World Premières)

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

The three Proms premières given at the end of last month make for an interesting comparison, with regard to the relationship between material and intention. There was no little weight being hefted around; Jonathan Dove‘s Gaia Theory aspired to James Lovelock’s hypothesis of the same name, concerning ideas of ‘self regulation’ in the systems that make up our planet, whereas Gabriel Prokofiev‘s Violin Concerto took both its subtitle, ‘1914’, and its narrative from aspects arising from the commemorations of World War I. Heavyweight stuff, then, making Simon Holt‘s inspirational starting point of a mythical god waking from slumber seem almost triflingly trivial by contrast. The results, though, were rather different.
Read more

Tags: , , , , , , , , ,

Proms 2014: Roxanna Panufnik – Three Paths to Peace (European Première)

Posted on by 5:4 in Festivals, Premières | Leave a comment

Religion is for many the place where peace meets its end, falling at the hands of inharmonious ideologies in the hearts and minds of their most violent advocates. On the one hand, the claim that religion—one or many—is directly to blame for most of the innumerable wars and conflicts that have dogged and continue to dominate civilisation is debatable, yet the claim that religion is often directly associated with their respective protagonists’ motivations is unquestionable. All of which may or may not have been on the mind of Roxanna Panufnik, whose new work Three Paths to Peace received its European première at the Proms a couple of weeks ago, appropriately performed by the World Orchestra for Peace, but embarrassingly directed on this occasion by one of modern conflict’s least strenuous opponents, Valery Gergiev. Read more

Tags: , , , ,

Misato Mochizuki – Musubi (UK Première)

Posted on by 5:4 in Lent Series | Leave a comment

Back to the Lent Series, and a work by the Japanese composer Misato Mochizuki. Mochizuki’s compositional outlook encompasses both east and west, perhaps a by-product of periods of study in Tokyo and Paris (at IRCAM, where she studied with Tristan Murail). For the last five years, Mochizuki has taught at Meiji Gakuin University in Tokyo, but her work continues to be performed regularly in France. She’s a bit of an unknown quantity in the UK, but that situation may improve with the release a few days ago of a new CD of her music on the NEOS label. Meanwhile, here’s a highly effective, slow-burning orchestral work of Mochizuki’s, performed at last year’s Total Immersion day celebrating contemporary Japanese music. Read more

Tags: , , ,

Hope without hope: Mark-Anthony Turnage – L’espoir (from Speranza, World Première)

Posted on by 5:4 in Comment, Premières | Leave a comment

There’s an interesting small addendum to be made to my article a couple of days ago, reviewing recent CDs. i commented that LSO Live has released the world première performance of Mark-Anthony Turnage’s large-scale orchestral work Speranza, but what the disc doesn’t contain is the entirety of the piece as heard on that first occasion. Anyone in the concert hall or who (like me) heard the live broadcast may be forgiven for feeling some dismay at discovering one of the most curious but lovely parts of the piece to be entirely absent from the CD release. Turnage initially conceived Speranza in five movements, each titled with the word ‘hope’ in different languages, and it’s the original fourth movement, L’espoir, which he appears to have decided to excise from the work. Considering the pair of interviews i’ve heard where Turnage discusses Speranza, one could perhaps have seen this coming; on both occasions (once prior to the performance, the other on the BBC’s The Strand Archive), Turnage’s description of the five movements rather skirts over the fourth, almost apologising for it, both in terms of compositional individuality—with reference to the use of borrowed melodies, which Turnage states “I did nothing to actually”—and also aesthetic, essentially dismissing it as “a real moody piece … more of a textural piece, which is unusual for me, just chords and rather desolate tunes”. Read more

Tags: , ,

Linda Buckley – chiyo (UK Première)

Posted on by 5:4 in Lent Series | 1 Comment

We’re back in Ireland for the next in my Lent Series devoted to music by women composers. Linda Buckley comes from the wonderfully-named Old Head of Kinsale, in County Cork. Her studies have centred around Trinity College Dublin, where she completed her Ph.D. and now lectures. Buckley composes intrumental and electronic music, which appear to be characterised by what i can only describe as a kind of intense radiance, incorporating an overt triadic impulse and also strong tendencies toward the microtonal. Put simply, she makes the pitch domain shine in a way that both comforts and blanches, a quality that permeates her sumptuous 2011 orchestral work chiyo. Read more

Tags: , , ,

Valentine Weekend: Laura Bowler – Irresistible Demands of the Flesh (World Première)

Posted on by 5:4 in Premières, Valentine Weekend | Leave a comment

To bring this inverted Valentine Weekend to an end, i’m turning from the intimacy of duets to the large-scale, inflamed overload of the orchestra. Laura Bowler‘s Irresistible Demands of the Flesh is an audacious exploration in sound of the theatrical tenets of Antonin Artaud, specifically the desire to push performers to a point of extremity in order to unlock something fundamentally true. The piece (the title of which appears to be from an entry about Michel de Ghelderode in The Cambridge Guide to Theatre) in part achieves this through an avoidance of conventional notions of idiomaticism and performance, seeking to place the members of the orchestra emphatically outside their traditional comfort zones. It does much the same thing for the listener, coming across not so much the product of an act of composition as a 12-minute slab of spontaneously seething organic sound, elemental and overwhelming. Read more

Tags: , ,