i’m now turning my attention this weekend to Erkki-Sven Tüür, a composer whose work in many respects sounds distinctly different from a lot of Estonian contemporary music (and as i’ve previously mentioned, he remarked to me last year that he feels himself to be something of an outsider). To get the 100th anniversary festivities of Estonia’s declaration of independence up and running, Tüür was commissioned to compose a new work, which received its world première a few weeks back. The combination of this being Tüür’s ninth symphony, and also being part of an important national celebration, have evidently guided Tüür towards writing a work of considerable epic scope. Subtitling the work ‘Mythos’, Tüür’s Symphony No. 9 is a 35-minute, single-movement work that to an extent sets itself apart from the most familiar aspects of his compositional style. Instead of a preponderance of rhythmic and gestural cavorting, Tüür has created a large-scale slab of meticulous musical evolution through shifting textures and atmospheres. Read more
Estonia in Focus weekend: Erkki-Sven Tüür – Symphony No. 9 ‘Mythos’ (World Première)
New releases: symphonies by Paul von Klenau, Peter Maxwell Davies, Andrzej Panufnik, Xiaogang Ye & Per Nørgård
It’s high time i got back to appraising some of the more interesting new releases. No fewer than three contemporary pieces bearing the title ‘symphony’ were performed at this year’s Proms, and coincidentally quite a few of the CDs i’ve been sent have also featured 20th and 21st century symphonies. What constitutes a ‘symphony’ these days is a good question, one that these six albums don’t so much answer as offer an assortment of interpretations of what it might mean. Read more
Proms 2016: Thomas Larcher – Symphony No. 2 ‘Kenotaph’ (UK Première), Sally Beamish – Merula perpetua & Bayan Northcott – Concerto for Orchestra (World Premières)
Following on from Emily Howard’s Torus, two further Proms premières have continued the relationship with the orchestral concerto archetype: Bayan Northcott‘s Concerto for Orchestra and Thomas Larcher‘s Symphony No. 2, which began life as one but developed in a different direction. Larcher’s symphony was commissioned to commemorate the 200th anniversary of the Oesterreichische Nationalbank, but far from being celebratory, the piece, dourly subtitled ‘Cenotaph‘, is bound up in thoughts and feelings instilled by the ongoing refugee crisis. Although not programmatic, Larcher has used the symphony to compose an ‘outcry’ at the sense of helplessness he felt.
Proms 2016: Galina Ustvolskaya – Symphony No. 3 ‘Jesus Messiah, save us!’
Just when you’ve concluded the Proms are little more than schmoozing, emollience, accessibility and tradition, along comes Valery Gergiev and the Munich Philharmonic Orchestra with Galina Ustvolskaya‘s Symphony No. 3. Regarded superficially—and, tragically, this is the way the majority of commentators regard her work—Ustvolskaya’s music is the antithesis of comfort. She eschews most of the conventions of western art music, typically bringing together unusual groupings of instruments (often timbrally and registrally incongruous) which articulate themselves from within the strictures of an utmost rigid rhythmic grid. Again regarded superficially, she is the ostensible apogee of the cool, aloof, unemotional, detached composer. Which leaves the question of why four of her five symphonies, as well as the three ‘Compositions’ (together covering a period from 1970 to 1990, the last 20 years of her composing life), should be subtitled with overt religious quotations, extended to recited texts in the symphonies. Is it irony? mischief? sacrilege?
Tags: Galina Ustvolskaya, symphony
Proms 2015: Colin Matthews – String Quartet No. 5 (European Première) & James MacMillan – Symphony No. 4 (World Première)
At the start of last week, the Proms saw important premières from two veterans of new music, Colin Matthews and James MacMillan. Both composers have a demonstrative relationship with music from earlier times, producing work that often seeks to find a comfortable marriage of old and new, looking back and forth simultaneously. The titles of both pieces bear some witness to this too, ostensibly bald, functional titles yet which carry centuries’ worth of connotation and legacy. Read more
Proms 2013: Philip Glass – Symphony No. 10 (UK Première)
In previous years, some readers will have noticed that there have always been a few Proms premières about which i haven’t written. Jazz-related works, being somewhat removed from my zone of interest and expertise, are ignored, along with re-discovered works from many decades ago (e.g. Britten’s Elegy for strings, receiving its first performance at the end of this month), contemporary cashings-in of earlier music (e.g. Anthony Payne’s latest ‘effort’, a rehash of Vaughan Williams songs being performed next month) and works by cartoon characters (e.g. the concerto ‘by’ Wallace, heard last year). Beyond these omissions, i’ve never overlooked a work for reasons of quality, as some of my less praiseworthy articles will bear witness. But never have i been more tempted to do this than when confronted by Philip Glass‘s latest contribution to the repertoire, his Symphony No. 10, given its UK première at Wednesday’s late night Prom by the Aurora Orchestra conducted by Nicholas Collon. Read more
In Memoriam: Hans Werner Henze – Symphony No. 5
Yesterday brought the very sad news that the composer Hans Werner Henze has died. It’s not for me to attempt an obituary—i only know a little of Henze’s life, and have only really scratched the surface of his considerable output—but by way of a small tribute, here’s a performance of his Symphony No. 5. Henze’s ten symphonies vary greatly in their scope, scale and instrumentation, and the Fifth is one of his most concise, lasting around 15 minutes. Henze composed the symphony in 1962, a year after he had relocated to the Marino region of Italy (Henze left Germany for good in the early 1950s, revolted by its politics and homophobia). The nearby city of Rome was his primary inspiration; Henze described the symphony as dealing with “dramatic portrayals of sensual conflicts and joys prompted by the sensuous happiness of 20th century Rome, its people, its countryside and surroundings, and even by its somewhat harder dialect in comparison to that of Naples where I previously lived”. Read more
Tags: Hans Werner Henze, symphony
