vocal

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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John Tavener – Cantus mysticus (UK Première)

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

i’ve been exploring the extensive 5:4 archive of recordings of premières recently, listening to both brand new and older works, and was pretty startled to encounter Cantus mysticus, by the late John Tavener. A work for clarinet and soprano soloists with a string orchestra of violins and cellos, it was composed in 2004, first performed the following year at the Cuenca Religious Music Week, in Spain. Three years later it received its UK première at the Proms, and in 2010 its first performance in the USA, but for the last seven years it’s sat dormant. Considering Tavener’s popularity both during his latter years and since his death, this seems strange – particularly as Cantus mysticus lasts only eight minutes – though it possibly has something to do with the very peculiar nature of the piece.

For much of the last two decades of his life, Tavener’s compositional practice was relatively standardised and predictable. If it had anything approximating an evolution, it was more to do with extra-musical than musical concerns, as Tavener shifted somewhat away from the more tangible (i.e. readily explainable) aspects of religious dogma in favour of ‘esoteric metaphysics’. (This evolution would finally move into an intense exploration of human suffering in the wake of Tavener’s own close call with death in 2007.) Personally speaking, this late shift came as something of a relief, though primarily because the particular combination of the abstract and the abstruse embodied within esoteric metaphysics render it far more inert (and that’s really not intended as a euphemism for ‘meaningless’) than Tavener’s more ostentatiously overt theological outlook of earlier years. Put more crudely – though no less accurately – this shift removed some of the unctuous sanctimoniousness of those earlier works, which from an extra-musical perspective, makes them very much more palatable. Read more

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HCMF 2016: Mark Knoop + Juliet Fraser

Posted on by 5:4 in Concerts, HCMF, Premières | 6 Comments

My final concert at HCMF 2016 was in St Paul’s Hall in the company of pianist Mark Knoop and soprano Juliet Fraser, who presented the UK premières of two song cycles, Michael Finnissy‘s Andersen-Leiderkreis and Bernhard Lang‘s The Cold Trip, part 2. Despite the fact that some of the Finnissy was not in English, it was unfortunate that we were not given the texts for either piece, as it was often unclear precisely what was being sung (more to do with St Paul’s Hall than with Juliet Fraser), a real shame considering the fact that these were both substantial vocal works. Regardless of this, though, The Cold Trip, part 2 made its intentions really very clear within the first few minutes: using Schubert’s Winterreise as its inspiration (in this case, being ‘part 2’, focusing on the latter half of that cycle), Lang’s text comprises cut-up minute quotations, allusions and references to the Schubert in conjunction with a live piano part and piano samples executed by a laptop. This, Lang contends, creates a ‘meta-composition’ in which the sampled elements establish a palimpsest of the Schubert. It really and truly does not. Read more

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Proms 2013: Charlotte Seither – Language of Leaving (World Première)

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What is this “I”: is it my physical presence, is it the temporality in which I stand and pass away, is there an independence of my thoughts from that which I am, or is my entire being merely a fiction of me myself?

This metaphysical conundrum is the starting point for Language of Leaving by the German composer Charlotte Seither, given its world première at the Proms last Wednesday by the BBC Symphony Orchestra and BBC Singers conducted by Josep Pons. It’s a question as circular as it is taxing, subjective and strange, and Seither’s gambit is to seek a way into it via speculative music, avoiding a direct mode of expression in favour of a large tapestry of weird, fantastical sonics, equal parts humanistic, supernatural and magical. Setting a text would be impossible in a context such as this, so Seither instead uses words by Francesco de Lemene in the most oblique and intangible way, reducing them to a collection of hints, glimpses and afterthoughts. Read more

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Proms 2012: Simon Bainbridge – The Garden of Earthly Delights (World Première)

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The final Proms Matinee last Saturday week featured one of the more substantial and aspirational of this season’s new works. Simon Bainbridge has turned for inspiration to one of art’s most well-known and -loved works, Hieronymus Bosch‘s The Garden of Earthly Delights (image), seeking to bring it alive as a chamber cantata. Composed for countertenor and mezzo-soprano soli with a modestly sized ensemble and additional chorus, it was given its first performance by the Birmingham Contemporary Music Group, conducted by Nicholas Collon. Read more

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Proms 2012: Michael Finnissy – Piano Concerto No. 2, Harrison Birtwistle – Gigue Machine (UK Premières) & Brian Elias – Electra Mourns (World Première)

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Last weekend’s Proms Matinee was the concert i had been most eagerly awaiting in this year’s season, featuring as it did some of my favourite composers and three premières. Back in April i opined that this concert “may just turn out to be the highlight of the whole season”; i think that prediction was pretty close to the mark. Read more

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John Cage – The Wonderful Widow of Eighteen Springs

Posted on by 5:4 in Lent Series | 3 Comments

Austerity is probably not the first characteristic that would come to mind when describing the music of John Cage, and yet that’s precisely what dominates his short song The Wonderful Widow of Eighteen Springs, composed in 1942. The text is extracted from a passage (on page 556) of James Joyce’s Finnegans Wake:

(click to see text)

night by silentsailing night…
Isobel…
wildwoods’ eyes and primarose hair,
quietly,
all the woods so wild, in mauves of
moss and daphnedews,
how all so still she lay neath of the
whitethorn, child of tree,
like some losthappy leaf,
like blowing flower stilled,
as fain would she anon,
for soon again ‘twil be,
win me, woo me, wed me,
ah weary me!
deeply,
Now evencalm lay sleeping; night
Isobel
Sister Isobel
Saintette Isobel
madame Isa
Veuve La belle

Cage sets these words for voice and piano, on both of whom he imposes severe restrictions; the singer has just three pitches at their disposal (F#, G# and C#) while the pianist isn’t even allowed to open the lid, playing instead on the outside of the instrument. Cage flirted with strict pitch restrictions a few years earlier in the Five Songs for Contralto (song no. 3, “in Just-“, also uses just three pitches), but the atmosphere he establishes here is much more sombre and unsettling. The voice is instructed to sing without vibrato, and the result is a strange cross between sacred chant and folk song, somehow elegant and crude simultaneously. Read more

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