USA

The next piece i’m exploring in this year’s Lent Series is The Last Voices by Danielle Baquet-Long, who released her solo work under the name Chubby Wolf. At 84 minutes long, it’s by far her longest piece, and the more i’ve spent time with it over the years, the more…

It’s the first day of Lent, and also therefore the start of this year’s 5:4 Lent Series. Three years ago my focus was on miniature works, and for 2020 i’m going in the opposite direction, exploring compositions that occupy larger-scale durations. However, this is not simply about pieces that are…

Last week i was able to catch a couple of days of the shenanigans going on at this year’s Huddersfield Contemporary Music Festival. It was strange not to be doing my usual thing of setting up camp for the whole shebang, but quite apart from it being better than nothing,…

Being the host nation, music from Norway was especially well-represented at this year’s Nordic Music Days in Bodø. Harnessing the large and impressive organ of Bodø Cathedral, Trond Kverno‘s Triptychon 2 was one of the fieriest things i heard at the festival. We tend to think of toccatas as fast-flowing,…

A golden rule in cinema is “show, don’t tell”, reminding the director it’s invariably more subtle and effective to avoid directly stating the things you want the audience to consider and instead to incorporate them into the medium itself, in the process allowing for a more subtle, rich and wide-ranging…

Here we go again. Four of the last premières at the Proms were the product of the festival’s irresistible inclination not to allow composers to just write what they want to write but to force them to ‘respond’ to earlier music. Last year, the most prominent example of this was…

The latest crop of premières at the Proms have encompassed extremes of scale and duration. John Luther Adams‘ In the Name of the Earth received its first European performance at the Royal Albert Hall yesterday by no fewer than eight choirs, comprising 700 singers. At a little over three quarters of…

i’ve often wondered whether, in music today, energy and complexity tend to be mutually exclusive. The whole ‘clocks and clouds’ dichotomy: regularity versus ambiguity, pulse versus drift, clarity versus obfuscation. This is certainly one of the considerations that arises from the latest pair of Proms premières: Dobrinka Tabakova‘s Timber &…

This evening’s Prom concert, given by the BBC Scottish Symphony Orchestra conducted by Ilan Volkov, opens with the world première of a new work, Nuages, by US composer Linda Catlin Smith. In preparation for that, here are her answers to my pre-première questions, plus the programme note for the piece.…

Until last Sunday, among the new works premièred at the Proms there hadn’t been what we’re all used to hearing: namely, a short, ebullient romp that gets a concert up and running. And then, a couple of days ago, the National Youth Orchestra of the USA, directed by Antonio Pappano,…

This morning’s Prom concert, given by the National Youth Orchestra of the USA, features the first European performance of Occidentalis by one of the orchestra’s Apprentice Composers, Benjamin Beckman. To provide some background and context, here are his answers to my pre-première questions, along with the programme note for the piece.…

The main focus during the five days of concerts at Forum Wallis was on ensemble and chamber music. An important and impressive feature of these concerts was their aesthetic diversity, not showing a marked preference for certain kinds of music-making. This resulted in extremely different – sometimes, practically opposite –…

The lack of ostentation in most of the music at this year’s Only Connect festival was perhaps nowhere more conspicuous than in a concert last Saturday devoted to French composer Pascale Criton. Performed by violinist Silvia Tarozzi, cellist Deborah Walker and singers Stine Janvin Joh, Signe Irene Stangborli Time and…

There’s something absolutely right about the bringing together of Norway’s Only Connect – a festival that, as its name implies, encourages one to question (inter)connections between ostensibly disparate musics – with Tectonics, Ilan Volkov’s peripatetic festival the name of which evokes fundamental, underlying bedrocks that continually meet, connect and rupture.…

I am interested in the long introduction (unfolding) form, in elemental tonal interaction, in aggregation and augmentation, in liminal perceptual states, shifts in density, the filtered atmosphere, and intense, focused experiences. This is how US composer Catherine Lamb summarised her music to me in 2017. On that occasion, they served…

On Wednesday, the Dark Music Days moved out of Reykjavík to the arts centre of Hafnarborg in the neighbouring town of Hafnarfjörður, where the Icelandic Guitar Trio – Þórarinn Sigurbergsson, Þröstur Þorbjörnsson and Svanur Vilbergsson – gave a recital featuring three native works alongside music from the UK and USA. The Icelandic pieces…