UK

Proms 2010: James Dillon – La navette (UK Première)

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

As far back as 1988, in his seminal essay on what was, at the time, laughingly called ‘the New Complexity’, Richard Toop described the Scottish composer James Dillon—even within that narrow niche—as an ‘outsider’. Over two decades on, in Dillon’s sixtieth year, little as changed; he remains relatively unknown within the UK, but one imagines this hardly troubles him very greatly; in the pre-performance interview snippet, Dillon comments on how “my references [are] very much not the kind of obsessions that seem to be peculiar to Britain in particular…”. Having heard already in this year’s Proms a fair smattering of the kind of ‘obsessions’ that do occupy the British mainstream, it took no more than a few seconds of Dillon’s La navette (given its UK Première last Thursday) to become aware just how different is the kind of musical language with which he speaks. His is a musical world seemingly without limits, certainly without borders; Dillon’s fascination with all manner of worldwide customs and philosophies informs his work from its conception to its surface. Read more

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Proms 2010: Huw Watkins – Violin Concerto (World Première)

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Tuesday 17 August’s Proms concert brought the world première of Huw WatkinsViolin Concerto, the second new violin concerto heard this season. The opening movement sets a commanding tone, its fast tempo instigated by the solo violin, surrounded by pointillistic contributions from winds and upper strings, firmly drummed in place with massive bass thuds. In no time at all, the soloist seemingly accelarates… only for everything to stop abruptly, and a brief lyrical interlude ensues. Gradually, the initial mood is re-established—although not the pace, which has been seemingly blunted somewhat by the interlude. Large, looming melodic suggestions are put forward by the strings, but the violin seems quite happy to ignore them all, dancing on their surface and into another lyrical excursion; for all its romanticism, Watkins is leaving no doubt as to who wears the pants in this relationship. And this is swiftly confirmed as the violin emerges from its episode into a manic burst of notes that gets the orchestra very excited (they clearly just want to bang a lot in this movement)… whereupon, once again, all is stopped even more demonstrably than before; this violin is something of a tease, is it not? Read more

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Proms 2010: Tarik O’Regan – Latent Manifest and Alissa Firsova – Bach Allegro (World Premières)

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For this year’s Proms, Saturday 14 August was designated “Bach Day”, and buried beneath all the BWVs were two new works, by Tarik O’Regan and Alissa Firsova, both works described as ‘arrangements’.

O’Regan’s approach, as he saw it, was to tease out ‘hidden’ musical lines within the opening movement of Bach’s Violin Sonata No. 3 BWV 1005. Who’d have thought that, buried within Bach’s music, was a whole load of post-John Adams material waiting to get out? The conductor, Andrew Litton, says in the interval discussion that his criterion for judging a great transcription or arrangement is “when you listen to it, you don’t wish you were hearing the original…”, and on that basis O’Regan comes off rather badly. All the same, Latent Manifest has some nice orchestrational moments, preventing it from being entirely dull.

Firsova roots herself in the last movement of Bach’s Viola da gamba Sonata No. 3 BWV 1029 and, thankfully, she doesn’t try so obviously to be seen to be clever. The title, Bach Allegro, says it all; unlike O’Regan’s work, which was nothing of the kind, this is a true arrangement, allowing Bach’s material to stand squarely in the foreground. While the orchestration is a little dry, there are some beautifully quirky moments, including an amusing brief dialogue between tubas and piccolos (Berlioz would be proud), as well as a hilarious bit of counterpoint proffered by, of all things, a flexatone (Gordon Jacob would be proud). It’s by far the superior offering, and the audience was clearly able to perceive that as well. Read more

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Proms 2010: Hans Abrahamsen – Wald (UK Première) plus Knussen, Bedford and Benjamin

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So, where were we? Ah yes, The Proms; my catchup starts with the concert that took place on Friday 6 August, given by the splendid Birmingham Contemporary Music Group.

Oliver Knussen‘s Two Organa is a work all the more engaging for its entirely lopsided nature. The first ‘organum’, “Notre Dame des Jouets”, could perhaps best be described as “sugar and spice and all things nice” (although without very much spice); exploring just white notes, it’s derived from an earlier incarnation, composed for a diatonic music box, and while undeniably rather fun, there’s little more going on beyond froth and fancy. The latter movement, on the other hand, could not be more different, drawing heavily on Knussen’s more characteristic, harmonically rich palette. In the wake of such a frivolous predecessor, the dense, concentric lines at work here come as something of a shock, given gravitas by the imposing presence of deep gongs. But it restrains itself from becoming ponderous, swiftly reducing into a sparser mixture, the lines given more room to move, fragments of the imagined organum sliding in and out of view. Read more

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Bitter and strong: the legacy of Dubstar

Posted on by 5:4 in Retrospectives | 6 Comments

A few months back, the announcement was made that Dubstar were at work on a fourth album, due for release this year. This came from Steve Hillier, brains of the outfit, who has, in the intervening years since Dubstar’s departure from the music scene, continued to maintain webpages connected with their music. Perhaps Hillier’s prevalent nostalgia is what has kickstarted the Dubstar motor once again, or perhaps they just couldn’t help themselves (real musicians never can); either way, things are afoot. i think that history – with all the old-fashioned benevolence of a grandmother – has been kind to Dubstar: they are encased within a memory that finds playful melodies and darkly acerbic lyrics conjoined, a paradox perfectly encapsulated in the person of singer Sarah Blackwood, her strongly northern dialect colliding with her angelic, unwavering soprano voice. Dubstar, in short, are like one of Grayson Perry‘s ceramics, discreetly placing disturbing imagery within a context that at first seems familiar and safe. It’s been interesting, then, to revisit all their old releases, many of which have been untouched on the CD shelves for far too long; ten singles (all long out of print), three albums, plus one or two other odds and ends, totalling a little over seven hours of music. Released over a five-year period, this is a fair achievement. But how does the music acquit itself now? What is Dubstar’s legacy? Read more

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Hoping against hope: Thomas Adès – Gefriolsæ me

Posted on by 5:4 in Lent Series, Seasonal | Leave a comment

It was at a concert in the spring of 1995 that i first encountered the music of Thomas Adès. The piece was Living Toys, and it was significant to my own development as a composer; i came away from the concert with a new vigour, determination and excitement about the music i wanted to create. Tom and i became mild acquaintances, and i even went to spend an afternoon with him in Cambridge, to discuss my work. While i don’t follow his music as closely as then, i still find it fascinating, and feel he’s one of this country’s more interesting composers.

A CD of Living Toys was released in 1998, and tucked quietly onto the end of that disc is a short work for male voices, entitled Gefriolsæ me. The text is an Anglo Saxon rendering of part of a verse from Psalm 51, a psalm that, due to its powerful penitential sentiments, is closely associated with Lent:

Gefriolsæ me of blodum, God hælu mine.
(“Deliver me from bloodguiltiness, O God my saviour.”) Read more

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