Proms

Proms 2019: the premières – how you voted

Posted on by 5:4 in Comment, Festivals, Premières | 2 Comments

Many thanks to all of you who took part in this year’s Proms première polls. As ever, there was a stark imbalance in the number of votes certain works received, but interestingly, whereas in previous years this tended to be focused on works performed earlier in the festival (since there was more time available to vote for them), this year more than ever there was a much more even spread throughout the season as a whole, including pieces premièred quite late. Not surprisingly, it was the better-known composers and/or the most substantial works that garnered the greatest number of votes, while the four short pieces commissioned to ‘respond’ to music by Bach received least interest of all – which arguably says something about how worthwhile it was for the BBC to continue to flog that particular horse.

Speaking of disinterest, it was one of those Bach-related works, Ailie Robertson‘s Chaconne, that received the biggest ‘Meh’ response overall, closely followed by Freya Waley-Cohen‘s Naiad, while at the opposite extreme, the work that proved most divisive was Tobias Broström‘s Nigredo – Dark Night of the Soul, with opinions strongly polarised. But away from the shrugs and the bickering, here are the main winners and losers of this year’s Proms, as voted for by you. Read more

Tags: , , , , , ,

Proms 2019: Daniel Kidane – Woke (World Première)

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

Perhaps there’ll come a time when it’s possible to mention the Last Night of the Proms without also mentioning, usually in the same sentence, the word ‘tradition’. This is not that time. Whatever you may think of its entrenched traditions, one of the Last Night’s better ones has been the tendency in recent years to commission a new work to get the party started. Unfortunately, the majority of the chosen composers have opted into a parallel tradition: composing something trivial, frivolous and forgettable, the musical equivalent of a party popper, all streamers and flashes and a short burst of hot air.

Read more

Tags: , , , ,

Proms 2019: Bach Night

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

Here we go again. Four of the last premières at the Proms were the product of the festival’s irresistible inclination not to allow composers to just write what they want to write but to force them to ‘respond’ to earlier music. Last year, the most prominent example of this was The Brandenburg Project, and this year they’ve sought to repeat the idea on a smaller scale. Bach Night, which took place last Wednesday, included the first performances of four pieces each of which was composed in response to one of J. S. Bach’s orchestral suites. Performed by the period ensemble Dunedin Consort, conducted by John Butt, all the pieces were around three minutes long, compelling the four composers – Nico Muhly, Stevie Wishart, Ailie Robertson and Stuart MacRae – to create not so much responses as brief reactions.

Read more

Tags: , , , , , , , , ,

Proms 2019: Jonny Greenwood – Horror vacui (World Première)

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

Any kind of sound processing – human, mechanical, digital – is a response of some kind: taking a signal, possibly analysing it, before doing something with it or to it. The latest new work at the Proms, Jonny Greenwood‘s Horror vacui, takes this as its starting point and modus operandi. In essence a violin concerto (subtitled “for solo violin and 68 strings”), the music extends the conventional concerto relationship of the one pitted against the many by drawing for inspiration on forms of sound processing, some physical, such as the ‘Palme’ speaker of the Ondes Martenot with its resonant strings, and some electronic, including delay, reverb and stretching. This melding of acoustic and electronic is fundamental to the work as a whole, which seeks to use the former to emulate and transcend the, as Greenwood sees it, limitations of the latter. Another inspirational element comes from the title, referencing kenophobia, the artist’s desire to avoid at all costs empty space. Read more

Tags: , , , , ,

Proms 2019: pre-première questions with Ailie Robertson and Stuart MacRae

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

This evening’s Prom is titled ‘Bach Night’, and in addition performing several of JSB’s Orchestral Suites the Dunedin Consort will also be giving the world premières of four new works that take their inspiration from some of the Suite’s movements. As an upbeat to that, here are the answers to my pre-première questions from two of the featured composers, Ailie Robertson and Stuart MacRae. Many thanks to Ailie and Stuart for their responses. Read more

Tags: , , ,

Proms 2019: John Luther Adams – In the Name of the Earth (European Première); Louis Andriessen – The Only One (UK Première); Freya Waley-Cohen – Naiad (World Première)

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

The latest crop of premières at the Proms have encompassed extremes of scale and duration. John Luther AdamsIn the Name of the Earth received its first European performance at the Royal Albert Hall yesterday by no fewer than eight choirs, comprising 700 singers. At a little over three quarters of an hour in duration, it’s by far the longest new work to be heard at the Proms so far. The UK première of Louis Andriessen‘s orchestral song cycle The Only One – lasting a mere 21 minutes – also took place yesterday, and earlier today the shortest of them all, Freya Waley-Cohen‘s 8-minute chamber work Naiad, received its world première at Cadogan Hall. Reflecting on these three pieces together, never has it been more true that size isn’t everything.

Read more

Tags: , , , , , , , , , ,

Proms 2019: pre-première questions with Freya Waley-Cohen

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

This afternoon’s Prom, the last of this season’s concerts at Cadogan Hall, features the newly-formed Knussen Chamber Orchestra. Alongside various works by the man himself, there’s also the world première of a short new work by one of Knussen’s former students, Freya Waley-Cohen. In preparation for that, here are her answers to some of my pre-première questions together with the programme note of her piece, Naiad. Many thanks to Freya for her responses. Read more

Tags: , , ,

Proms 2019: Dobrinka Tabakova – Timber & Steel; Linda Catlin Smith – Nuages (World Premières)

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

i’ve often wondered whether, in music today, energy and complexity tend to be mutually exclusive. The whole ‘clocks and clouds’ dichotomy: regularity versus ambiguity, pulse versus drift, clarity versus obfuscation. This is certainly one of the considerations that arises from the latest pair of Proms premières: Dobrinka Tabakova‘s Timber & Steel, which could be described as acting like a metaphorical clock, and Linda Catlin Smith‘s Nuages, which in both its title and behaviour directly invokes the nature of clouds. In many ways they’re a polarised couple of pieces: Tabakova’s avoiding almost all traces of vagueness in its precise, relentless forward momentum, Smith’s obfuscating its reality in a floating, pulseless environment.

Read more

Tags: , , , , , ,

Proms 2019: pre-première questions with Linda Catlin Smith

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

This evening’s Prom concert, given by the BBC Scottish Symphony Orchestra conducted by Ilan Volkov, opens with the world première of a new work, Nuages, by US composer Linda Catlin Smith. In preparation for that, here are her answers to my pre-première questions, plus the programme note for the piece. Many thanks to Linda for her responses. Read more

Tags: , , ,

Proms 2019: pre-première questions with Dobrinka Tabakova

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

This evening’s Prom concert, given by the BBC Concerto Orchestra, is another tribute marking the 150th anniversary of the birth of Henry Wood, founder and first conductor of the Proms. In addition to various piece premièred or orchestrated by Wood, the concert includes the world première of a new work, Timber & Steel, by Bulgarian composer and the orchestra’s composer-in-residence, Dobrinka Tabakova. To provide a bit of context for that piece, here are her answers to my pre-première questions, along with the programme note of the piece. Many thanks to Dobrinka for her responses.

Read more

Tags: , , ,

Proms 2019: Jocelyn Pook – You Need to Listen to Us; Alissa Firsova – Red Fox; Ryan Wigglesworth – Piano Concerto (World Premières)

Posted on by 5:4 in Festivals, Premières | 2 Comments

A few weeks back, when critiquing Hans Zimmer’s short work Earth, i almost held back from writing about the piece as it was taking place in a concert for children. i couldn’t help wondering to what extent it was fair to hold up something so intentionally superficial to critical scrutiny. Yet why should music composed with children in mind feel the need to resort to superficiality? Isn’t that making some fairly hefty assumptions about what children can engage with, enjoy and understand? In the case of Zimmer, the question is essentially moot, as Earth didn’t make any concessions at all to the children at the concert – except insofar as literally everything he’s composed in recent years has been an abject concession: to creativity, originality and imagination. Perhaps that suggests his film music makes that same assumption about what adults can engage with, enjoy and understand – indeed, perhaps it compounds its fundamental problems by making this assumption about children and then seeking to treat adults in the same way. But i’m digressing; that’s a discussion for another time; suffice it to say that, at his Proms appearance, Zimmer just sounded like Zimmer, regardless of who happened to be in the room, young or old.

Yet these same questions raised their head again at the Proms last Sunday, at an event called ‘Lost Words’, another concert aimed primarily at children (and/or treating adults like children). The concert was a uniquely bizarre mélange of cloying, alarmist, nostalgic propagandising about the environment, nature and language. It was a performance as difficult to negotiate as it was to stomach, including two world premières, by Jocelyn Pook and Alissa Firsova, performed by the National Youth Choir of Great Britain with the Southbank Sinfonia, conducted by Jessica Cottis.

Read more

Tags: , , , , , , , ,

Proms 2019: Dieter Ammann – Piano Concerto (“Gran Toccata”) (World Première)

Posted on by 5:4 in Festivals, Premières | 7 Comments

None of the premières so far at this year’s Proms has left me with a more conflicted first impression than Dieter Ammann‘s new Piano Concerto, given its first performance on Monday by Andreas Haefliger with the BBC Symphony Orchestra conducted by Sakari Oramo. The basis for that reaction is wrapped up in trying to decide whether the piece is full of contrasts or contradictions. Considering its essential behaviour, if were a 5- or even 10-minute work it would be quite easy to write it off as all – or at least predominantly – superficial froth. Yet at over 30 minutes’ duration, that’s not the case at all, it’s not a work that can be taken lightly. Yet the extent to which – and the way in which – it can be taken seriously is another quandary. One thing that’s certain, though, is the importance of its subtitle: “Gran Toccata” – any ‘toccata’ worthy of the name is going to consist of a fair amount of fleet-footed material that twists and turns in unpredictable ways. Ammann’s Piano Concerto doesn’t simply do this, it embodies this. Read more

Tags: , , , , ,

Proms 2019: Errollyn Wallen – This Frame is Part of the Painting; Joanna Lee – At this man’s hand; Jonathan Dove – We Are One Fire (World Premières)

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

Three of the last four world premières at the Proms have been vocal works, two of them for unaccompanied choir, the other for voice and orchestra. One of the choral works, Jonathan Dove‘s We Are One Fire, was commissioned as a birthday present for the 90th anniversary of the BBC Symphony Chorus. Dove turned to playwright Alasdair Middleton for a text that could serve as both a response to and an echo of the sentiment in Schiller’s Ode to Joy, celebrating humanity’s “shared ancestry”. Apparently, Dove wanted to compose “something joyous and tribal, but not using (or copying) any traditional music from another country”. It’s bizarre, then, that what Dove has created is so slavishly generic in its musical language.

Read more

Tags: , , , , , , ,

Proms 2019: Pictured Within: Birthday Variations for M. C. B. (World Première)

Posted on by 5:4 in Festivals, Premières | 6 Comments

A week ago, the Proms saw the world première of a new work by no fewer than 14 composers. Conceived by conductor Martyn Brabbins as a 60th birthday present to himself, the piece is inspired by, and modelled on, the structure and character of Elgar’s Enigma Variations. For this new work, Pictured Within: Birthday Variations for M. C. B., Brabbins selected a theme (keeping its origin a secret) as the basis for fourteen variations, composed by Dai Fujikura, David Sawer, Sally Beamish, Colin Matthews, Iris ter Schiphorst, Brett Dean, Wim Henderickx, Richard Blackford, Harrison Birtwistle, Judith Weir, Gavin Bryars, Kalevi Aho, Anthony Payne and John Pickard. (It’s impossible to ignore how much of a sausage-fest that is, but it’s Brabbins’ party so obviously he calls the shots.) The tempos and approximate durations of Elgar’s original movements are, with a few exceptions, generally retained in Pictured Within, resulting in a composite work that corresponds to the overall shape, nature and inner relationships running throughout the Enigma Variations. Read more

Tags: , , , , , , , , , , , , , , , , , , , , , ,

Proms 2019: pre-première questions with Joanna Lee

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

This afternoon’s Prom moves away from the Royal Albert Hall to Holy Sepulchre church, for a concert given by the BBC Singers. The programme is an all-English selection of works, finishing with the world première of At this man’s hand by Joanna Lee. In anticipation of that, and to provide a bit of background and context to the work, here are her answers to my pre-première questions. Many thanks to Joanna for her responses. Read more

Tags: , , ,

Proms 2019: Benjamin Beckman – Occidentalis (European Première); Detlev Glanert – Weites Land (UK Première)

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

Until last Sunday, among the new works premièred at the Proms there hadn’t been what we’re all used to hearing: namely, a short, ebullient romp that gets a concert up and running. And then, a couple of days ago, the National Youth Orchestra of the USA, directed by Antonio Pappano, gave the first European performance of Occidentalis, by US composer Benjamin Beckman. In his response to my pre-première questions, Beckman spoke about writing a piece that was a way of getting away from the vocal music he had been writing (as part of an opera), and the programme note explains the title by reflecting on the historical use of the term and its associations with travel – going west – as well as connotations of immigration with regard to the USA.

Read more

Tags: , , , , , ,

Proms 2019: pre-première questions with Benjamin Beckman

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

This morning’s Prom concert, given by the National Youth Orchestra of the USA, features the first European performance of Occidentalis by one of the orchestra’s Apprentice Composers, Benjamin Beckman. To provide some background and context, here are his answers to my pre-première questions, along with the programme note for the piece. Many thanks to Ben for his responses. Read more

Tags: , , ,

Proms 2019: Huw Watkins – The Moon (World Première)

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

There are times when it seems the Proms is incapable of commissioning a new work without foisting upon the composer some theme or connection that they are required to incorporate into the piece. The festival’s ongoing theme commemorating the 50th anniversary of the moon landings was brought to bear on yet another new work, Huw WatkinsThe Moon, which received its world première last night. Watkins opted to sidestep notions of spaceflight and technology in favour of something more romantic, turning to 19th and 20th century poetry about the moon, by Shelley, Whitman and Larkin, for inspiration.

The moon landings took place half a century ago, but listening to The Moon you’d be forgiven for thinking it was composed when notions of getting to the moon were still but a pipedream, yet to make it even to a drawing board. While not exactly pastiche, there’s an overt (even ersatz) early 20th century vibe permeating a great deal of the work. Clean, basic, straightforward, undemanding, every idea outlined in the musical equivalent of black marker pen; even before a few minutes have passed, it all sounds incredibly timid and tired. Watkins’ musical language has always tended towards the conservative, but i’m not sure it’s ever been articulated so overtly as here.

Read more

Tags: , , , ,

Proms 2019: Outi Tarkiainen – Midnight Sun Variations (World Première)

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

Composers generally tend to shy away from admitting their music to be overtly autobiographical, but in the case of the latest Proms première, by Finnish composer Outi Tarkiainen, the piece is a clear extension – a manifestation, even – of the composer’s way of experiencing the world. In her answers to my pre-première questions, Tarkiainen wrote of her synaesthetic response to harmony, perceiving it as “various colour-shades of light, and my compositions make extensive use of modality, of ‘scales of light’, as it were.” This perception in turn feeds into a larger inspiration drawing on her experiences of arctic light, which is “rich in hues and varies steeply from one season to another”. Her new work, Midnight Sun Variations, can therefore be regarded as something of a double portrait, capturing an aspect of the natural world, and of herself: “In this work I am very openly what I am.”

Read more

Tags: , , , ,

Proms 2019: pre-première questions with Outi Tarkiainen

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

This evening’s Prom, given by the BBC Philharmonic, includes the world première of Midnight Sun Variations by Finnish composer Outi Tarkiainen. In anticipation of that, here are her answers to my pre-première questions, along with the programme note of the piece. Many thanks to Outi for her responses. Read more

Tags: , , ,