Stuart MacRae

Stuart MacRae – Prometheus Symphony (World Première)

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i’m concluding this brief look at three recent new symphonies with one by another Scottish composer, Stuart MacRae. As in James MacMillan’s latest symphony, MacRae has also turned to mythology for inspiration, drawing on the ancient Greek tale of Prometheus. According to legend – as recounted by 8th century poet Hesiod – Prometheus created humanity from clay, and then gave to them fire that he had stolen from the gods, in order to enable their development towards civilisation. Zeus, king of the gods, retaliated by punishing Prometheus by binding him to a rock and each day sending an eagle that would devour his liver, which would rematerialise overnight. An immortal being, Prometheus’ fate was therefore potentially an eternal one, though – spoiler alert – he would subsequently be liberated, several years later, by Heracles.

That final part of the tale falls outside the scope of MacRae’s Prometheus Symphony, which briefly features the words of judgement from the gods before focusing almost exclusively on Prometheus’ lengthy soliloquised response to them. Structured as a diptych, the first half utilises excerpts from Aeschylus’ Prometheus Bound as translated by Elizabeth Barrett Browning, in addition to MacRae’s own words, while the entire second half is a setting of Goethe’s eponymous 1774 poem. In essence, then, the symphony is a protracted expression of bitter lament and angry resolve, given bifurcated voice via soprano and baritone soloists.

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Proms 2019: Bach Night

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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.

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

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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

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