UK

Proms 2017: Judith Weir – In the Land of Uz (World Première)

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As i mentioned in my recent essay for Sounds Like Now, the statistics for contemporary music by women at the 2017 Proms concerts are lamentable: four-fifths of the new music heard this year is by men. Judith Weir is therefore something of an exception – doubly so, as not only is she fortunate enough to be included, but also her new piece In the Land of Uz is one of the longest new works to be heard this year, lasting nearly 40 minutes. So from this perspective, there’s an asymmetrical mix of cheering and booing to be made.

The same goes for the piece itself. Weir has turned to one of the more well-known Old Testament parables, the account of the life of Job, a man whom God happily allows to be horrendously abused by Satan, robbing him of everything, his health, his house and his family. While from a moral perspective this is all repugnant in the extreme, the story exhibits some interest in Job’s response, in which he comes to despise his existence but holds back from either accepting he has done anything to deserve this treatment, or from blaming God for his misfortunes (which, in the circumstances, would hardly have been unreasonable, or indeed unfair). You can take your pick whether Job’s convictions and endurance are deluded or admirable, but either way it’s a cornerstone of theodicy, and his emphatic reply “the Lord gave, and the Lord hath taken away; blessed be the name of the Lord” has become one of the most famous statements of stoic acceptance in the history of literature. Whereupon, with his life reduced to nothing, and having repudiated the arguments from friends who proffer suggestions as to the causes of his situation, Job is rewarded with a motherlode from God, restoring him to an even better situation than before all this sadistic nonsense began – though the Bible says nothing of the emotional trauma that would inevitably endure for the rest of Job’s (very long) life. The end justifies the means, i guess; another cornerstone of Christian belief and practice over the centuries. Read more

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Proms 2017: pre-première questions with Cheryl Frances-Hoad

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This afternoon’s Prom concert, titled Bach’s ‘Little Organ Book’ past and present, affords the opportunity to hear no fewer than three world premières, each of them short works continuing the Germanic tradition of the chorale prelude, reworking hymn tunes. One of the composers featured is Cheryl Frances-Hoad, and as preparation for her take on one of the most renowned Lutheran hymns, ‘Ein feste Burg ist unser Gott‘, here are her answers to my pre-première questions along with her programme note. Many thanks to Cheryl for her responses. Read more

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Proms 2017: Brian Elias – Cello Concerto (World Première)

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Around a month ago, i bumped into Brian Elias at the Cheltenham Music Festival, and we had a brief chat about his forthcoming Cello Concerto, premièred a couple of nights ago at the Proms. As i mentioned in my article with his pre-première questions, he expressed some reservations about including the programme note, worried that it might make people listen too analytically, trying to hear the structure rather than simply listening to the piece on its own terms. i encouraged him not to worry about this, and to trust that it would ultimately enhance the listening experience rather than distract or detract from it.

i’m still convinced that that was correct, though my own reaction to the piece, in light of that programme note, has proved interesting. Though i knew the essence of what it said, i’d forgotten the specifics, and ultimately opted not to re-read the note prior to listening. But as the Cello Concerto‘s half-hour duration slowly unfolded, the knowledge that Elias had created the piece using a carefully-managed structure, plus the fact that i’ve very much enjoyed his earlier work, began to make me more and more confused. Far from the programme note acting as a spoiler, try as i might i simply couldn’t – and still can’t – get my head around the piece. Read more

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Proms 2017: pre-première questions with Brian Elias

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This evening’s Prom concert includes the world première of the new Cello Concerto by India-born, British composer Brian Elias. It’s five years since his music was last heard at the Proms, when his powerful scena Electra Mourns (setting Sophocles) received its first performance, and tonight is Elias’ fourth appearance at the Proms. Although composed for Natalie Clein, due to her being unwell she’s been replaced for the world première by Leonard Elschenbroich, who’ll no doubt do a sterling job, but it’s far from an ideal situation for a first performance. Apropos, Clein has released a statement:

Brian Elias’ piece has been in my heart, mind and fingers for almost two years and I am devastated to have to withdraw from this wonderful Prom. But the piece will speak and sing beyond its dedicatee and I will truly be in the hall in spirit with Leonard, Brian, Ryan and the BBC National Orchestra of Wales, and all who hear its first (but not last!) outing!

In anticipation of this evening, here are Brian Elias’ answers to my pre-première questions, followed by the detailed programme note for the piece – which Brian mentioned to me recently some listeners may prefer to read after the performance. Many thanks to Brian for his responses and to Sam Wilcock at Music Sales. Read more

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Proms 2017: Julian Anderson – The Imaginary Museum (World Première)

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Last autumn, at the Royal Musical Association’s annual conference, composer Julian Anderson presented a paper addressing what he described as “the problem of professionals involved in modern music denigrating and otherwise attempting to devalue the music they are supposed to support”. The paper – which unfortunately i’ve not yet been able to read (anyone have a copy?) – was titled ‘Selling Ourselves Short: Inturned aggression and group self-contempt in the modern music sector since 1973’. As it happens, i was born in 1973, and while i doubt Anderson had myself in his sights, after i’ve written the following review, i suspect he may well do.

His new piano concerto, The Imaginary Museum, was given its world première at Wednesday’s Prom by Steven Osborne with the BBC Scottish Symphony Orchestra, conducted by Ilan Volkov. Cast in six movements and lasting around 25 minutes, the piece is by far one of the most insubstantial and ineffectual bouts of professional noodling masquerading as music that i have ever encountered. Read more

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Proms 2017: Roderick Williams – Là ci darem la mano (World Première)

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As i noted in my introduction to his answers to my pre-première questions, until the announcement was made about this year’s Proms in April, it had passed me by completely that Roderick Williams, as well as being one of Britain’s most well-known singers, is also a composer. Unsurprisingly focused on vocal and choral music, he stated that his compositional starting point is often the text, and that’s the case in his new work too, a madrigal setting of ‘Là ci darem la mano’, words by Lorenzo Da Ponte that originally formed part of Mozart’s opera Don Giovanni. The words are a duet between the eponymous protagonist and Zerlina, whom Giovanni attempts to seduce despite her already being betrothed to the peasant Masetto. You can regard this as playfully or as seriously as you like, but there’s more than a slight ‘Carry On‘, nudge nudge wink wink character to it.

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Proms 2017: Harrison Birtwistle – Deep Time (UK Première)

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It’s easy to believe – even take for granted – that we ‘get’ Harrison Birtwistle. He represents a lot of things to a lot of people, but the tendency is to conflate the man and his music, mix in stereotypes drawing on his age and northern heritage, and arrive at a surly amalgam that, crudely stated, neither gives nor takes any shit. Very many years ago, as a callow student volunteering at the Cheltenham Music Festival, i was charged with attending to Birtwistle during his time in the town, which ultimately consisted of a brief greeting followed by my being told in no uncertain terms that he did not need looking after, and off he went. So i certainly know all about the brusqueness of the man, but his music has always been another, entirely separate, matter. To me, its primary characteristics are an earthiness, an inclination to sing in the midst of turbulence, a strong sense of persistent determination, and an urgent, passionate humanity yearning to be unleashed no matter what. These qualities have permeated his works performed at the Proms in recent years – particularly The Moth Requiem, the Concerto for Violin and Orchestra and Angel Fighter – and they manifest again in his most recent orchestral work, Deep Time, given its first UK performance at the Proms last Sunday.

That being said, there were occasions during the work where i found myself wondering if what i was hearing really was by Birtwistle. But not early on, the music establishing a dark admixture of rumble and grumble within which nascent ideas take shape. It’s a beautifully measured and arresting introduction, the strings clambering up and out of this claustrophobic gloom with such oomph that it almost seems as though, two-and-a-half minutes in, we’re already reaching a climax. But this is a mere overture to the more complex behaviour that forms the firmament of Deep Time. Birtwistle’s programme note speaks of the piece sitting alongside The Triumph of Time and Earth Dances due to its twin temporal and geological concerns. This finds expression in a fascinating underlying order that evidently has a pulse at its core, though sufficiently subterranean that it’s often masked, inaudible or simply forgotten about. Yet it finds expression in another way too, in a remarkable sense of architectonic plasticity, as though the bedrock of the piece were warping and stretching, with concomitant effects occurring on the surface. On this surface, when pulse isn’t pushing through, a plethora of melodies break out (those from a soprano sax are especially striking), invariably short-lived, broken up by unpredictable surges and lunges or multi-layered textures from the full orchestra. Read more

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