orchestral

Proms 2012: Mark Simpson – sparks (World Première)

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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

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

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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

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

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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

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

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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

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Proms 2012: Thea Musgrave – Loch Ness – a Postcard from Scotland (World Première)

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The Proms weekend devoted to youth orchestras concluded with that of Scotland, and fittingly the concert’s new work came from Edinburgh-born Thea Musgrave. She extended the theme further, choosing for her subject that most evocative of places, Loch Ness, known the world over for the mythological leviathan once purported to inhabit its depths. Read more

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Proms 2012: Elaine Agnew – Dark Hedges (World Première)

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Yesterday afternoon’s Prom brought the first performance of Dark Hedges, by the Northern Irish composer Elaine Agnew. It was given by the combined forces of the Ulster Youth Orchestra of Northern Island and the Ulster Orchestra, conducted by JoAnna Falletta, with a solo flute part played by housewives’ favourite, James Galway. Before speaking of the piece itself, it’s worth highlighting the performance, which demonstrated in startlingly vivid fashion the skill and musicianship that young players bring to new music; their playing throughout was deeply impressive. Read more

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Proms 2012: Rued Langgaard – Symphony No. 11 ‘Ixion’ & Pelle Gudmundsen-Holmgreen – Incontri (UK Premières)

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In a change to the planned schedule (due to Benedict Mason not having finished his new work meld), last Saturday’s Prom featured two UK premières, both by composers rarely heard on these shores. Difficult pieces—but for different reasons—they were given marvellously lucid performances by the BBC Symphony Orchestra, conducted by Thomas Dausgaard. Read more

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