violin

Detlev Glanert – Musik für Violine und Orchester (UK Première)

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On 11 February, getting on for 15 years since its world première in Darmstadt, Detlev Glanert‘s Musik für Violine und Orchester arrived in the UK, in the hands of Stephen Bryant and the BBC Symphony Orchestra, under the direction of David Robertson.

The first movement, ‘Cantus’, is linked to Orpheus, who, according to legend, was an inspirational singer. Sedate and measured, the violin’s opening phrases—pensive ascending scales—are slowly taken up by the orchestra, leading to a rudimentary pulse. It may seem facile to speak of an ‘awakening’ at the start of a piece, but there is a distinct sense of the instruments flexing their muscles in readiness for what’s to follow. A confident sforzando begins the movement proper, in which the violin assumes an overtly ‘narrative’ mood, occasionally deviating from prosaic mutterings to engage in a flurry of melodic fancies that seems to receive an eager response from the orchestra. All the same, over time it projects a slightly empty and dynamically flat brand of lyricism, somewhat without a cause; it’s easy to be distracted by the delightful touches going on around it, such as the light repeated notes in the woodwind. 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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George Benjamin – Viola, Viola; Three Miniatures for Solo Violin; Into the Little Hill

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George Benjamin is one of the first contemporary composers in whom i became interested, as a teenager. It’s difficult to pin down or articulate quite what i find appealing in his music, and in fact reasonably often i’ve found myself ambivalent about certain pieces. There’s an intensity and earnestness of intention that can be a double-edged sword; his works may come across as somewhat over-wrought and rather too cerebral, but personally i would prefer that to something insufficiently considered any day. Whatever; here are three works from a concert given by Ensemble Modern at the Bockenheimer Depot in November 2007. Read more

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Ancient and modern: Unsuk Chin – Violin Concerto, Miroirs des temps; Chris Dench – Passing bells: night

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i’ve been a fan of Unsuk Chin‘s music ever since she returned to instrumental writing in the early ’90s with Akrostichon-Wortspiel. At the end of last month, Radio 3’s ‘Hear and Now’ featured Chin’s more recent music. The Violin Concerto is awash with invention; all the talk of open strings is simply an opening gambit, from where it departs into vivid and distinctly unfamiliar territory. Often, the use of open strings is redolent of Berg’s concerto, but it’s unfair to latch onto that association, as Chin really does operate in a world apart. It’s much more akin to Ligeti’s concerto, and Chin acknowledges this in her interview during the programme, where she refers to her piece as an ‘answer’ to Ligeti’s. She also speaks of a desire to avoid a conventional orchestral sound through the introduction of ununusal instruments; the final movement of the concerto features steel drums, which inject a fittingly exotic and unconventional twist to the work as a whole. Miroirs des temps, with dense multi-part crab canons, is a compositional tour-de-force, but also rather strange. It doesn’t begin in the most auspicious way, the singers sounding, frankly, drab against the gentle interest of the orchestra; and when it then lurches into pastiche, i admit i had to restrain myself from stopping listening. It broadens into more interesting areas, though, as it approaches its middle; the fourth movement, dark and indistinct, is especially exciting. But, of course, this is a “mirror of time”, and so the less interesting faux Machaut and drabness return as the work progresses; not her finest work, by any means, but equally not without some very special moments—it’s just a shame that they are only moments. This performance of the Violin Concerto was given bu Hae-Sun Kang and the BBC Philharmonic, conducted by James MacMillan. Read more

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