symphony

James MacMillan – Symphony No. 5 ‘Le grand Inconnu’ (World Première)

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Symphonies – one minute you think that no-one’s really writing them anymore, and then suddenly three of them turn up in quick succession. Of course, in reality the apparent lack of them may well be more to do with the fact that composers today are reluctant to title a work ‘Symphony’ (embodying as it does such an accumulation of historical connotation and baggage) in favour of something more personal and snappy, and less to do with a reality in which music that could be described as ‘symphonic’ is becoming a thing of the past. Either way, in the last few months three works bearing the name ‘Symphony’ have received their first performances, which i’ll be exploring in my next few articles.

James MacMillan‘s Symphony No. 5, premièred in August, takes as its theme the religious notion of the Holy Spirit. To this end, MacMillan structures the work in three movements each of which is devoted to one of its mythical physical attributes: wind (or breath), water and fire. The subtitle of the work, Le grand Inconnu (the great unknown), is an associated term, borrowed from the French because MacMillan could not find an equivalent in English. It’s a choral symphony, involving both a chamber choir and a chorus, but instead of directly setting a text MacMillan has taken words from the Bible, John of the Cross, and the 9th century hymn Veni Creator Spiritus to form a composite text mingling English, Latin, Hebrew and Greek. Read more

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Proms 2018: Per Nørgård – Symphony No. 3 (UK Première); Rolf Wallin – WHIRLD; Bushra El-Turk – Crème Brûlée on a Tree (World Premières)

Posted on by 5:4 in Festivals, Premières | 3 Comments

Quite apart from anything else they may embody, this year’s Proms premières have occupied pretty much the entire span of the profound—trivial continuum. At its most extreme, this has been exemplified by the most recent new works, which have ranged from a compositional exploration of infinity culminating in a state of enraptured transcendence invoking mysticism, Rilke and Rückert, to a recipe for making custard.

The source for British-born, Lebanese composer Bushra El-Turk‘s short, culinary song Crème Brûlée on a Tree is a Thai cookbook by chef Andy Ricker that includes a recipe for custard using the smelly, so-called “king of fruits”, durian (the title possibly comes from this NPR article about the fruit). Read more

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Estonia in Focus weekend: Erkki-Sven Tüür – Symphony No. 9 ‘Mythos’ (World Première)

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

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

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New releases: symphonies by Paul von Klenau, Peter Maxwell Davies, Andrzej Panufnik, Xiaogang Ye & Per Nørgård

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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

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Proms 2016: Thomas Larcher – Symphony No. 2 ‘Kenotaph’ (UK Première), Sally Beamish – Merula perpetua; Bayan Northcott – Concerto for Orchestra (World Premières)

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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. Read more

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Proms 2016: Galina Ustvolskaya – Symphony No. 3 ‘Jesus Messiah, save us!’

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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?

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Proms 2015: Colin Matthews – String Quartet No. 5 (European Première); James MacMillan – Symphony No. 4 (World Première)

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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

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In Memoriam: Hans Werner Henze – Symphony No. 5

Posted on by 5:4 in 20th Century, Commemorations | 3 Comments

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

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Proms 2012: Per Nørgård – Symphony No. 7 (UK Première)

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Despite the understandable reluctance on the part of contemporary composers to use the word, there’s nothing quite like seeing ‘symphony’ on a concert programme to get one’s blood and expectations pumping. When the composer in question is Per Nørgård, as it was last week at the Proms, then the excitement factor ramps up even further. Composed over a period of three years, Nørgård’s Seventh Symphony was given its UK première by the BBC Philharmonic, conducted by John Storgårds; it’s a decade since the first UK performance of Nørgård’s last symphony (also at the Proms), and considering the aftermath—audiences and critics very sharply divided in response to what is an admittedly hard-going work—one can imagine a fair few people came to this concert with more than usually clenched teeth. Read more

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