orchestral

HCMF 2012: Oslo Sinfonietta

Posted on by 5:4 in Concerts, Festivals | 1 Comment

Following a collection of strangers down a bleak back street to a gloomy factory and then passing through a makeshift entrance labelled ‘The Blending Shed’ might sound like the makings of a nightmare, but this was the way in which i found myself at Bates Mill, for yesterday evening’s concert given by the Oslo Sinfonietta. What constitutes a sign? What do words and gestures really signify? How do we interpret them, and when we have, how might others respond? These questions occupied both of the works featured in the concert, which were each receiving their UK première.

Ignas KrunglevičiusGradients is founded on a bizarre exchange initiated by two Cornell PhD students: a conversation between two online chatbots, their addled, artificially intelligent dialogue forming Krunglevičius’ libretto. The piece didn’t feel promising at first, comprising a series of sliding overlapping lines on and around the same pitch, dripping with dissonance, while four singers (members of the Norwegian Soloists’ Choir) uttered a related sequence of open-mouthed ululations. So far, so meh. Read more

Tags: , , , ,

In Memoriam: Hans Werner Henze – Symphony No. 5

Posted on by 5:4 in 20th Century, Commemorations | 3 Comments

Yesterday brought the very sad news that the composer Hans Werner Henze has died. It’s not for me to attempt an obituary—i only know a little of Henze’s life, and have only really scratched the surface of his considerable output—but by way of a small tribute, here’s a performance of his Symphony No. 5. Henze’s ten symphonies vary greatly in their scope, scale and instrumentation, and the Fifth is one of his most concise, lasting around 15 minutes. Henze composed the symphony in 1962, a year after he had relocated to the Marino region of Italy (Henze left Germany for good in the early 1950s, revolted by its politics and homophobia). The nearby city of Rome was his primary inspiration; Henze described the symphony as dealing with “dramatic portrayals of sensual conflicts and joys prompted by the sensuous happiness of 20th century Rome, its people, its countryside and surroundings, and even by its somewhat harder dialect in comparison to that of Naples where I previously lived”. Read more

Tags: , , ,

Tōru Takemitsu – From me flows what you call time (UK Première)

Posted on by 5:4 in 20th Century, Commemorations, Premières | 1 Comment

It was on this day, in 1930, that one of my favourite composers, the great Tōru Takemitsu, was born. So to mark what would have been his 82nd birthday, here’s one of his most spectacular orchestral works, the wonderfully-named From me flows what you call time. The title is taken from a poem by the Japanese poet Makoto Ooka, titled “Clear Blue Water”:

Summer trip to Switzerland:
in our bellies, sausages
eaten on the Zermatt terrace,
foot of the Matterhorn,
slowly turns into
heat: 1000 calories each.

As we climb up and up
the Furka Pass, my eyes
suddenly are perforated
by a billion particles
of heavenly blue:
across the valley a giant
mountain rampart:
The Glacier.

Swinging up its snow-
crowned sky-blue fist,
that ancient water spirit
shouts:

“From me
flows
what you
call Time.”

Down from that colossal
mass of shining ice
flows the majestic
River Rhone.

The piece is in part inspired by the Tibetan idea of the wind horse, an allegorical conception of the human soul, familiar to many in the well-known associated sequence of five coloured flags, representative of the elements: fire (red), water (blue), earth (yellow), sky (white) and wind (green). Takemitsu makes the number five significant; the work’s principal theme is essentially a five-note motif, and in addition to the orchestra he writes for a five-piece percussion ensemble. Percussion, in fact, dominates the piece, decked out with a plethora of exotic bells, chimes, gongs, singing bowls and drums to the point that it could almost be described as a percussion concerto. Nonetheless, though, the 30-minute work displays Takemitsu’s typically fine instrumental homogeneity, every instrument seemingly directed towards a common objective, albeit an objective that is often both nebulous and fluid. Takemitsu’s penchant for strolling around gardens when contemplating new compositions makes itself felt as much in this piece as in so many of his others, moving to and between a large number of ‘scenes’ or ‘vistas’, moments when his exquisite textural vagueness abruptly coalesces into something tangible. Read more

Tags: , , , ,

Proms 2012: Mark Simpson – sparks (World Première)

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

Last Night, almost two months after it began, the 2012 Proms season closed with its traditional cross between a concert and a piss-up. A relatively new addition to its arcane traditions is beginning proceedings with the première of a new work, and this year the mantle fell to Mark Simpson. One can hardly relish his task, composing something to kick-start what’s effectively a party, but his chosen title, sparks, suggested Simpson had sized up the context pretty well. Read more

Tags: , , ,

Proms 2012: Helen Grime – Night Songs (World Première)

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

Partway through last Saturday’s Proms world première of Night Songs, the new work from Helen Grime, conductor Oliver Knussen dropped his glasses. To listen to the performance, one would hardly have noticed; yet, at the end, Knussen announced the mishap to the audience and remarked how he thought it had gone well, “but I’d just like to play it again to make sure”—and thus, Night Songs was immediately given a second world première. Quite apart from the graciousness of that act, it makes one wonder why this sort of thing doesn’t happen more often anyway; on the very rare occasions when i’ve been at a concert where a new work has been played twice (usually in each half of the concert, not immediately afterwards), it has always proved to be an extremely valuable experience, benefiting the piece immeasurably and sometimes drastically altering one’s first impressions. Concert planners: take note. Read more

Tags: , , , ,

Proms 2012: Emily Howard – Calculus of the Central Nervous System (UK Première)

Posted on by 5:4 in Festivals, Premières | 1 Comment

Last Tuesday saw the first UK performance of Emily Howard‘s Calculus of the Central Nervous System, an orchestral work inspired by the thinking of the English mathematician Ada Lovelace. Premièred at last year’s Wien Modern Festival by the ORF Radio Symphony Orchestra Vienna, it was performed on this occasion by the CBSO, conducted by Andris Nelsons. Read more

Tags: , , , ,

Proms 2012: Per Nørgård – Symphony No. 7 (UK Première)

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

Despite the understandable reluctance on the part of contemporary composers to use the word, there’s nothing quite like seeing ‘symphony’ on a concert programme to get one’s blood and expectations pumping. When the composer in question is Per Nørgård, as it was last week at the Proms, then the excitement factor ramps up even further. Composed over a period of three years, Nørgård’s Seventh Symphony was given its UK première by the BBC Philharmonic, conducted by John Storgårds; it’s a decade since the first UK performance of Nørgård’s last symphony (also at the Proms), and considering the aftermath—audiences and critics very sharply divided in response to what is an admittedly hard-going work—one can imagine a fair few people came to this concert with more than usually clenched teeth. Read more

Tags: , , , , ,