Premières

The smallest-scale events at this year’s Estonian Music Days were a pair of chamber concerts at each end of the festival. Irina Zahharenkova’s keyboard recital at the Arvo Pärt Centre encompassed extremes of musical invention. The most egregious were two works dating from the early 1990s by a Russian guitarist…

Even before my plane touched down at Tallinn airport, i knew that this year’s Estonian Music Days was going to feel a bit different. Last year marked the 20th anniversary of Estonia’s independence from Soviet occupation, and one of the effects of Russia’s ongoing war against Ukraine is that Tallinn…

Curating this year’s Lent Series, focusing on death, grief and loss, has been something of a difficult experience. As i mentioned at the start of the series, this theme has felt unavoidable and inevitable at the moment, but at the same time works such as the ones i’ve featured, that…

The penultimate work in this year’s Lent Series is one that ended up having to wait over a quarter of a century from the date of composition to receive its first performance. James MacMillan completed his orchestral piece The Keening in 1987, while studying for his PhD at Durham University.…

The Arabic word ‘nakba’ (النكبة), which translates as “disaster” or “cataclysm”, is used to refer to the suffering, displacement and destruction wrought on the Palestinians from 1948 (with the wartime exodus) to the present day. It’s a term that has been in use right from the outset of the Israeli-Palestinian…

i wrote in Part 1 about the warm, inviting and relaxing atmosphere that pervaded each of the concerts at Borealis 2022. Establishing this kind of environment for audiences is vital, for two important reasons. First, because any festival that claims itself to be, as Borealis explicitly does, “for experimental music”…

Even at the first concert of the first day of Borealis 2022, i was realising how much the festival felt different from the norm. i go to a lot of festivals (notwithstanding the upheavals of the last two years), and for the most part, aside from cultural distinctions, they’re all…

The next work i’m featuring in this year’s Lent Series is one that, in the six years since i first heard it, has completely changed my opinion about it. At the world première of John Woolrich’s Swan Song, i felt that “the fragmented delivery of transient moments of something cantabile…

The next piece i’m featuring in this year’s Lent Series, focusing on grief and loss, is probably the shortest i’ve ever explored on 5:4. Naomi Pinnock’s We are consists of a mere 12 bars of music, lasting around 60 seconds. The piece was part of BBC Radio 3’s ‘Postcards from…

The next piece in my Lent Series is concerned with not just the possibility but the occasional necessity of having to progress through darkness. Some Paths Will Always Lead Through the Shadows was composed by Elis Hallik in 2021, and takes as inspiration words by poet Doris Kareva: Bitter and…

As i mentioned previously, the majority of the music i heard at this year’s Dark Music Days fell somewhere between emotional allusion and full-on abstraction. In many ways it was the most abstract music that made some of the strongest and most long-lasting impressions, primarily because of the composers’ focus…

The Lent Series continues today with a short, darkly ruminative work for baritone and ensemble by British composer Colin Matthews. It’s a setting of the poem ‘It rains’ by war poet Edward Thomas, one of two poems that Thomas composed in 1917 concerned with rain. ‘It rains’ is a wistful…

Postponed from its usual position in late January to early March due to last-minute Covid restriction shenanigans, Iceland’s Dark Music Days festival was therefore not quite so dark as usual. All the same, it was hardly the Light Music Days, and in any case Mother Nature was seemingly more determined…

For the next work in this year’s 5:4 Lent Series, i’m turning to a work for oboe and three organs by Estonian composer Lauri Jõeleht. A Prayer in Darkness dates from 2017, and its title is drawn from an eponymous poem by G. K. Chesterton, the final verse of which…

Today’s Advent Calendar piece is another focused on the coldness of winter: Öökülm [night frost] for orchestra and electronics by Malle Maltis. In her programme note, Maltis speaks a lot about the destruction caused by cold, and a little about beauty. To an extent this emphasis is mirrored in the…

A couple of days ago we crossed the threshold into winter, so for both today’s and tomorrow’s Advent Calendar pieces i’m exploring music that either invokes or evokes the cold. Invocation first, in the form of Now I’m Nowhere, a work for male voices by Lithuanian composer Justė Janulytė. Janulytė…

Despite our highest hopes and expectations, 2021 hasn’t brought any resolution to the world’s ongoing swings between bouts of freedom and restriction in its attempts to mitigate the effects of Covid. i can’t help hearing something of the pent-up frustration caused by this in today’s Advent Calendar piece, Čvor by…

It’s Rebecca Saunders‘ birthday, so behind today’s Advent Calendar door is a short work of hers investigating slide guitar techniques. Composed in 2018, Study For Metal Bottle Necks comes across as rather different in tone from the majority of Saunders’ work. The usual liminal balance between abstraction and emotional heft…

Today’s Advent Calendar work is another fascinating miniature oddity. Maurice Ravel composed Frontispice – his shortest work, consisting of just 15 bars – in June 1918. It was commissioned by the writer and poet Ricciotto Canudo, intended to act as a preface to Canudo’s S.P. 503, Le Poème du Vardar,…

i want to make a bold, seemingly absurd statement about the orchestral work behind today’s Advent Calendar door. The more time i’ve spent with Adagietto by Linda Catlin Smith, the more i’ve perceived it as having no movement in it whatsoever. Let me explain. What i don’t mean is that…