orchestral

Symphony Hall, Birmingham: Iris ter Schiphorst, Richard Strauss, Gustav Holst

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i had many reasons for wanting to hear last night’s National Youth Orchestra concert at Symphony Hall in Birmingham, not least of which was simply to hear NYO in action again. They are an astonishing orchestra, not merely able but mature, sensitive and abounding in talent; their rendition of Messiaen’s Turangalîla-Symphonie a few years back is a particularly vibrant memory. Beyond this, i was intrigued to hear more music by German composer Iris ter Schiphorst, whose Aus Liebe had been one of the most striking works at the Arditti Quartet’s HCMF concert last year. But most of all, i wanted to hear Richard StraussAlso Sprach Zarathustra, a work i’ve known intimately since my teenage years but which i’ve never, until yesterday, had the opportunity to hear performed live.

There’s something very strange about this; the rest of Strauss’ tone poems enjoy regular performances in the UK, both at national and local level (particularly Ein Heldenleben, Till Eulenspiegel and Don Juan), but trying to find a performance of Also Sprach Zarathustra is almost impossible. In this respect, it’s completely the opposite of the other major work included in last night’s concert, Holst’s The Planets, a work so ubiquitous in the UK that it borders on the absurd. Hearing the Strauss and Holst in close proximity (a superb bit of concert programming) only makes the absence of Also Sprach in British concert halls all the more unfathomable. Read more

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Proms 2016: Magnus Lindberg – Two Episodes (World Première)

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Last week, i finally got round to watching a concert i’d recorded last year celebrating the music of film composer John Williams, featuring highlights from throughout his long career. For better or worse, i couldn’t help recalling that concert again and again during last night’s world première at the Proms of Magnus Lindberg‘s Two Episodes, performed by the London Philharmonic Orchestra conducted by Vladimir Jurowski. In some respects, this wasn’t entirely a surprise. Always a demonstrably accessible composer, Lindberg’s work in the last few years has reached more and more into the kind of musical language associated with movie soundtracks (a quality i’ve pointed out with regard to both Al largo and Era). What was surprising, though, was that the piece was entirely conceived to serve as an homage to the work following it in the programme, Beethoven’s Ninth Symphony. Read more

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Hoddinott Hall, Cardiff: John Pickard – Symphony No. 5 (World Première)

Posted on by 5:4 in Concerts, Premières | 19 Comments

It’s not often that, partway through an orchestral concert, i find myself imagining i’m a German paraglider. But that’s precisely how i felt yesterday evening in Cardiff’s Hoddinott Hall with the BBC National Orchestra of Wales, during the world première of the Fifth Symphony by Bristol-based composer John Pickard. Not just any paraglider: Ewa Wiśnierska, who in 2007 famously became trapped between two thunderstorms, and subsequently found herself in an airborne hell, subjected to an almighty battering that lasted 3½ hours, during which she was propelled to an altitude of almost 10 kilometres, well above the height of Mount Everest. Pickard’s symphony lasted a mere 30 minutes, but it still gave me more than just an inkling of what Ms. Wiśnierska must have experienced.

The piece found itself in curious company, preceded by a pair of works that, although by no means as ferocious, were in their own ways just as animalistic. That’s not an adjective one tends to hear applied to Elgar‘s Cello Concerto, but ever since i was first subjected to the piece as an unsuspecting sixth-former, it’s always seemed entirely appropriate. Elgar’s cello cuts one of the most pathetic protagonists in the entirety of music; it whines like a bitch, squeals like a pig, bleats like a forlorn little lamb. People loftily proclaim all this to be ‘valedictory’, but this is an animal that deserves — needs — to be put out of its misery post-haste. But no, the orchestra unthinkingly, deplorably, allows it to ramble on incessantly for half an hour, offering superficially sombre utterances of sympathetic regret. After almost a century of farcical, fawning, flattering, fulsome, false adulation, it’s high time the Cello Concerto was called out for the ugly, moping piece of dilapidated dirge-tripe that it is. Soloist Alban Gerhardt presumably did his best to find some humanity in it, but it was hard to tell among the precarious intonation and lack of melodic connectivity emerging from his instrument (not exclusive to Elgar, they also blighted his encore). Before this abject travesty had come William Walton‘s Johannesburg Festival Overture, a work causing one to reflect that, prior to the emergence (and dominance) of Benjamin Britten, Walton sounds like the only British composer who actually seemed to enjoy himself. The tales of being sent tapes of African music for “inspiration” are at best a conceit; the piece is seven minutes of complete and utter Walton, a triumph of joy, vivid and jarring colouration and melodic and structural misdirection, all delayed resolutions, false cadences and madcap maracas. An unbelievably wonderful bestial romp, delivered to perfection by the BBC NOW with conductor Martyn Brabbins looking as though he might start dancing at any moment. Read more

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Michael Finnissy – Offshore

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To conclude my Lent Series celebrating the work of Michael Finnissy, i’m turning to the composer’s first orchestral score, Offshore, written 40 years ago in 1976. It was composed in the aftermath of a traumatic relationship break-up, which no doubt accounts for a lot of things, not least the work’s title and particularly its surprisingly strange general demeanour. Offshore can prove disarmingly difficult to connect with on a first listening (i can recall my own initial attempt, which was an almost complete failure), in no small part due to the way that Finnissy works with the orchestra by fragmenting it into a collection of distinct sonic entities, united by gestural, behavioural, timbral and registral characteristics. Read more

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Anna Clyne – The Seamstress (UK Première)

Posted on by 5:4 in Premières | 1 Comment

The annual 5:4 Lent Series is almost upon us, but in the meantime one of the more striking premières i’ve heard recently is a new work for violin and orchestra from US-based British composer Anna Clyne. The work’s title, The Seamstress, comes from W. B. Yeats’ eponymous poem (see below), where a song is made into a coat “Covered with embroideries / Out of old mythologies”; the garment is subsequently robbed, yet the songmaker rather sanguinely concludes “there’s more enterprise / In walking naked.” Clyne’s song takes the form of what she calls an “imaginary one-act ballet”, with five distinct movements, the last recapitulating the first. The temptation would be to describe it as a violin concerto, but in many ways it really isn’t; the solo violin is by no means more important or significant than the orchestra at all times, indeed for much of the piece there’s a strong sense of duet, with the soloist frequently yielding centre-stage. All the same, the violin certainly acts in ways that could be called catalytic, instigating ideas and often leading the way elaborating them. Read more

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HCMF 2014 revisited: Hèctor Parra – L’absència (UK Première)

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HCMF’s 2013 Spanish composer-in-residence Hèctor Parra was represented at last year’s festival in an orchestral work, L’absència, receiving its first UK performance. At only 7½ minutes long, and eschewing heavy brass, it’s tempting to describe L’absència as small-scale, yet it’s a piece that sounds convincingly bigger than it really is. That’s just one of many ambiguities and paradoxes fundamental to the work’s character, consistently flirting and teasing in such a way as to render moot most definitive statements one might make about it.

It is, in a nutshell, hard to pin down. Initially—unsurprising considering its modest duration—Parra seems to get cracking with his material briskly, a gruff beginning suddenly hinting at a lyrical underbelly, instead becoming tense before a cluster of heavy swells erupt practically from nowhere. All in under 90 seconds. If anything, though, this complex opening actually indicates the fundamentally deceptive nature of L’absència, which for the most part makes its case slowly, despite appearances. Read more

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Proms 2015: Anders Hillborg – Beast Sampler (UK Première); Raymond Yiu – Symphony; Alissa Firsova – Bergen’s Bonfire (World Premières)

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The latest spate of Proms premières have made for an interesting contrast in terms of abstract versus concrete ideas. At the former end of the continuum—where else would you find him?—was Anders Hillborg and his latest orchestral piece Beast Sampler; at the latter end was Raymond Yiu‘s Symphony, a large-scale work for countertenor and orchestra; somewhere in between was Bergen’s Bonfire, a new symphonic poem from Alissa Firsova. Read more

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