It was many, many years ago (at the 1993 Meltdown Festival, in fact) that i first encountered the music of Hungarian composer György Kurtág and became instantly entranced by it. Like Webern, Kurtág is drawn to expressing himself in tiny, fleeting musical acts for modestly-sized instrumental groupings, but unlike Webern there’s usually a powerful emotional current obviously flowing through them (that’s not to suggest Webern’s music isn’t emotional; Kurtág’s is simply more demonstrative). During the 1980s, he was commissioned to write a work for large forces for the Berlin Festival, which caused Kurtág difficulties that were only surmounted when he explored the Philharmonie’s chamber music hall, at the time still being built. This led to a realisation that he could preserve his outlook and approach by writing for a number of small groups spatially arranged around the hall; the result, premièred in October 1988, was …quasi una fantasia…, a small-scale concerto for piano and “instruments dispersed in space”.
Prophets, visionaries, seers, they’re an acquired taste, are they not? Often they get relegated to an idealistic niche characterised as “head in the clouds”—yet a more careful survey reveals that most luminaries are among the most earthly-wise & practical of people. This difficult-to-digest paradox coloured much of the music at yesterday’s late night Prom, which, alongside Feldman’s timeless Coptic Light, featured the UK première of Gerald Barry‘s 2009 work No other people. & the first performance of Frederic Rzewski‘s new Piano Concerto, performed by the composer with the BBC Scottish Symphony Orchestra, conducted by Ivan Volkov. Read more
Last weekend’s Proms Matinee was the concert i had been most eagerly awaiting in this year’s season, featuring as it did some of my favourite composers & three premières. Back in April i opined that this concert “may just turn out to be the highlight of the whole season”; i think that prediction was pretty close to the mark. Read more
Concertos are a regular feature among the new works heard at the Proms, but it’s rare to hear one for two pianos; Richard Dubugnon’s Battlefield Concerto, composed for those most characterful & quirky of siblings, Katia & Marielle Labèque, was therefore a refreshing break from the norm. It was given its first UK performance a little over a week ago by the Labèques with the BBC Symphony Orchestra, directed by Semyon Bychkov. Read more