UK

all that dust: music by Morton Feldman, Matthew Shlomowitz, Séverine Ballon, Milton Babbitt and Luigi Nono

Posted on by 5:4 in 20th Century, CD/Digital releases | 3 Comments

The launching of a new label devoted to contemporary music is something to celebrate, and the newest kid on the block is all that dust, the brainchild of composer Newton Armstrong, soprano Juliet Fraser and pianist Mark Knoop. The label’s first five releases have recently appeared, and there are a couple of things to say more generally before getting stuck into them individually. First, all that dust is a label not only concerned with the newest of the new; two of these releases are works composed in 1964, and another dates from the early ’80s. Second, all that dust is interested in digital as a valuable medium in its own right: two of the releases are only available digitally, and have been specifically engineered for binaural listening. Third, the label’s approach to presentation is slick but nicely generic, opting for abstract artwork rather than tailoring each one with something personalised. This somewhat extends to the liner notes, which while they do at least provide some context for the music are generally rather meagre and perfunctory. Overall, though, in terms of presentation what all that dust are clearly seeking to emphasise above all else is the music, indicating that we shouldn’t fuss about admiring fancy covers or reading lengthy tracts but just launch as quickly as possible into these five very different soundworlds. Hard to argue with that. Read more

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Proms 2018: Roxanna Panufnik – Songs of Darkness, Dreams of Light (World Première)

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And so to the annual conveyor belt of over-cranked fripperies and falderals that is the last night of the Proms. Nestling among them – not, for a change, getting the concert party started – was the last première of this year’s season, Songs of Darkness, Dreams of Light by British composer Roxanna Panufnik. Like several other 2018 Proms premières, the piece was commissioned as a commemoration of the end of World War I. For her text, Panufnik draws on two sources: a poem by Isaac Rosenberg titled ‘In the Underworld’ and words from the conclusion of the final section of Kahlil Gibran‘s poem ‘The Prophet’. The combination of these two texts is interesting; Rosenberg’s (expressing a personal heartbreak) speaks not merely of separation but of a more severe, experiential disconnect, while Gibran’s articulates a more benign separation, one that holds open the prospect of a (real or imagined) future meeting. These two texts are assigned to the two choruses used in the work, which in this first performance were the BBC Singers and BBC Symphony Chorus, alongside the BBC Symphony Orchestra, conducted by Andrew Davis.

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Proms 2018: Iain Bell – Aurora; Nina Šenk – Baca (World Premières)

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The interplay of performing relationships has been at the centre of the last two Proms premières. Iain Bell’s Aurora, a concerto for coloratura soprano and orchestra, given its first performance on 29 August by Adela Zaharia and the Royal Liverpool Philharmonic Orchestra conducted by Vasily Petrenko, seeks to pit the soloist as a figure of light against an orchestra associated with nocturnal darkness and varying quantities of concomitant danger. Baca, a new work for ensemble by Slovenian composer Nina Šenk, takes a more nuanced approach in the way it explores (and, above all, celebrates) the respective roles of and interactions between the one and the many. 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 Premières, Proms | 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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Proms 2018: Philip Venables – Venables Plays Bartók; Laura Mvula – Love Like A Lion (World Premières); Agata Zubel – Fireworks (UK Première)

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The last few Proms premières have been, to put it mildly, an extremely mixed bag. By far the most excruciating of them was Venables Plays Bartók, a violin concerto of sorts by Philip Venables, given its first performance last Friday by Pekka Kuusisto with the BBC Symphony Orchestra, conducted by Sakari Oramo. As its title suggests, the piece incorporates music by Bartók, inspired by an episode in Venables’ life when, as a teenage violinist, he had a lesson with Rudolf Botta, playing to him a piece by Bartók. The lesson was recorded, and Venables’ rediscovery of the tape evidently led to a enormous burst of Proustian nostalgia.

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Proms 2018: Simon Holt – Quadriga; Suzanne Farrin – Hypersea (World Premières)

Posted on by 5:4 in Premières, Proms | 1 Comment

Last Monday at Cadogan Hall, percussionist Colin Currie and the JACK Quartet combined forces to perform two works from the ’80s by Xenakis and two world premières, by Simon Holt and Suzanne Farrin. The points of inspirational origin of these pieces were somewhat different from what one usually encounters in new music, Farrin turning to an interpretation of humankind’s emergence from the oceans (and what we may have brought with us – see her answers to my pre-première questions for more details), while Holt’s is the only piece i’ve ever encountered to draw on the movements of classical dressage.

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Proms 2018: Mark-Anthony Turnage – Farewell; Lisa Illean – Sleeplessness … Sails (World Premières)

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Two of the smallest of this year’s new works were given their first performances in a recital at Cadogan Hall on 6 August by mezzo-soprano Sarah Connolly and pianist Joseph Middleton. The concert had themes of sleep (and the lack of it), dreams and lullabies running through it, explored primarily in 20th century music by the likes of Howells, Britten, Stanford, Holst and their ilk (all of whom had associations with the Royal College of Music), with the new works by Australian composer Lisa Illean and Mark-Anthony Turnage.

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