Oslo’s annual contemporary music festival Ultima is currently in something of a transition, between outgoing artistic director Thorbjørn Tønder Hansen and incoming Heloisa Amaral, who took the helm in February this year. On the one hand, what i experienced during my three days there was broadly comparable to previous years, …

At the moment, as will be abundantly obvious, 5:4 is experiencing some display issues. This appears to have stemmed from a plugin that earlier today wrought a bit of havoc under the hood, in the process messing up the visual theme i’ve been using. Having been inaccessible for a short …

First thing this morning i’m setting off for Oslo to catch the last few days of this year’s Ultima Festival. Words galore to follow in due course.

Some years ago I was at the Royal Opera House, watching and listening with a growing sense of disbelief and horror as a contemporary opera entirely failed to understand or meaningfully capture the source material upon which it was based. That was Thomas Adès’ wretched The Exterminating Angel, an embarrassingly …

Two years have passed since the Iceland Symphony Orchestra’s previous series of albums, Recurrence, Concurrence, Occurrence, and their latest release, Atmospheriques Vol. I, is the start of a new series. As before, the orchestra is conducted by Daníel Bjarnasson, and the emphasis is again on Icelandic composers, though here they’re …

Reconfiguring the Landscape is the title of a new album of acousmatic works by Natasha Barrett, though in some respects, as presented here, it could just as well be titled Reconfiguring the Room. The five works on the album originate in site-specific projects, all of which sought in some way …

Staunch conservatives don’t merely hold sway over our current government but also, it seems, our concert halls, judging by the latest desolation of premières at this year’s Proms. In the case of the Prelude and Fugue in G major by Rachel Laurin, posthumously premièred in Isabelle Demers’ organ recital, i …

i was deeply saddened to receive a message around an hour ago, with the news that composer Gloria Coates has died. i only began to spend significant time with Gloria’s work last year, when it finally dawned on me just how fascinating and remarkable it is. This led to my …

It’s been a disappointing, demoralising experience spending time with the most recent batch of premières at the Proms. Derrick Skye‘s Nova Plexus, premièred by the BBC National Orchestra of Wales at the end of last month, was easily the most egregious of them, being yet another example of the cinematised …

Back in April, when i summarised the new music featured at this year’s Proms, i mentioned that the time might have come for me to finally give up trying to find some enthusiasm for its safe, unimaginative offerings. The 2023 season has been up and running for a couple of …

During my recent time in Salzburg, i explored many of the city’s large number of churches. All of them were Catholic, and while they were undeniably impressive – none more so than the absurdly massive cathedral – it was striking to see the extent to which they were almost infeasibly …

i’m heading off today to Salzburg for a week’s vacation. For once, the trip will be essentially work-free, though i will be catching the performance of Messiaen’s Éclairs sur l’Au-Delà… at the Salzburg Festival while i’m there; words to follow once i’m back.

Even as i start to write this opening sentence i feel uncertain about exactly where this is going to lead. This is, i suppose, a provisional response to the latest release on the Neu label, Madrigal, featuring music by Catalan composer Joan Magrané. i’ve previously encountered Magrané’s work on just …

Extra Abbatia for piano quartet was completed on 26 January 2009. It was composed during my doctoral studies at the Birmingham Conservatoire, following a request from the Schubert Ensemble (during a residency) for works lasting around one minute.

A composer i’ve been trying to get the measure of lately is Grażyna Bacewicz. Bacewicz died in 1969, but her output seems to be going through something of a rediscovery of late, with concert performances and new recordings now emerging with increasing regularity. It’s a generalisation, i know, but over …

It’s been interesting to compare and contrast three recent releases all of which feature drone at the core of their musical language. (The music is long, so i’m going to keep this quite short.) Drone music tends to operate in one of two ways: either by establishing a literal fundamental, …

For much of its life, Gérard Grisey‘s Mégalithes has languished in obscurity. A work for 15 brass instruments composed in 1969 when Grisey was 23, the work was essentially forgotten, perhaps due to a lack of interest on Grisey’s part (due to his subsequent focus on spectralism) and short memories …

i was deeply saddened recently to hear about the death, on 2 June, of Finnish composer Kaija Saariaho. In the days since then, i’ve been reflecting on my relationship with her music, which i’ve come to realise is similar to my relationship with Takemitsu’s music. Every time i encounter her …

i want to say a few words about Valentin Silvestrov‘s Requiem für Larissa, which was actually released last autumn, but has only recently found its way into my ears. Perhaps there’s never been a more apposite time for a Ukrainian Requiem. Composed in 1999, the piece is as deeply personal …

The most overwhelming event at this year’s Estonian Music Days festival was a concert at the Arvo Pärt Centre given by soprano Iris Oja, percussionists Vambola Krigul and Lauri Metsvahi, and Tammo Sumera on electronics. In some respects it feels difficult to write about this concert, as the scope, depth …