Premières

The majority of the concerts at this year’s Dark Music Days were focused on chamber music. The most leftfield of these came courtesy of Trio Isak, in a concert titled ‘Ballet on the Moon’. That title in part derived from the opening piece on the programme, Daníel Bjarnason‘s White Flags, …

Larger-scale works featured in several Dark Music Days events. One of the toughest to engage with was given by Caput Ensemble, a concert marred by the yawningly awful Polo by Simon Mawhinney, a quarter of an hour’s worth of relentless, faceless, arbitrary blarney. Veronique Vaka‘s Holos was marginally more interesting, …

While it’s normal to feel a sense of familiarity returning to a festival year after year, it was stronger than usual at the 2023 Dark Music Days in Reykjavík since it was only 10 months since last year’s festival, which had been delayed due to the pandemic. It also served …

One of my personal highlights of this year’s Huddersfield Festival was the performance of Justė Janulytė‘s 2020 work for 8 trumpets, Unanime. Composed for Marco Blaauw’s Monochrome Project, the piece exists in two versions: the first, with a single climax, lasts 15 minutes; the second, with two climaxes (one muted, …

In last year’s Advent Calendar i featured an arrangement of one of Ravel’s piano works by Boulez; this year i’m exploring one by UK composer Colin Matthews. Ravel completed his five-movement piano suite Miroirs in 1905. He subsequently orchestrated two of the movements himself, Une barque sur l’océan and Alborada …

For today’s Advent Calendar work i’m returning to one of the composers who stood out most prominently among the premières at last year’s Proms festival. Elizabeth Ogonek‘s Cloudline wasn’t just one of my own favourites, you evidently felt exactly the same way, as the work almost came top of the …

Michael Finnissy’s Polskie tańce ludowe (Polish folk dances) have had multiple lives. Their origins are in a volume of Polish folk music given to Finnissy as a child by his godfather, Peter Klos. Finnissy recently recalled to me that … he served with the Polish Airforce, he was not a …

Behind today’s Advent Calendar door is a beautiful, contemplative orchestral work by Canada-based composer Linda Catlin Smith. Wilderness was composed in 2005, and while it would be inaccurate to call it a work for violin and orchestra (still less a concerto), a solo violin has a role distinct from the …

Francisco López‘s second live performance at Cafe Oto, in March 2015, makes a strong contrast to the first (featured earlier this month); where that had harnessed electronic elements largely devoid of referential qualities, this piece focuses on a juxtaposition of sounds that are clearly derived from (or intended to imitate) …

Today’s work in the 5:4 Advent Calendar is a typically leftfield piece by British musician Mica Levi. Levi’s music encompasses the deep and the trivial, the profound and the nonsensical, sometimes simultaneously. Their work BOUND. 9 Minuets, for two small snare drums & ensemble, tends more towards the latter than …

One of the more memorable works performed at the inaugural Baltic Music Days in 2020 was Mundus Invisibilis by Latvian composer Anna Fišere (formerly Ķirse). That piece was concerned with fungal mycelium, and her earlier work Radices for 8 singers and electronics, composed in 2018, is similarly rooted in the …

Particles by Japanese composer Shiori Usui consists of four minutes of wild textural mayhem. The title suggests it’s all going to be about light, tiny impacts, and that is how the work begins. However, this opening chorus of skitterings is soon supplanted by the significant heft of what sound like …

The work i’m featuring today in my Advent Calendar is one that takes its starting point from one of my favourite pieces of music, Mahler’s Symphony No. 3. One of Mahler’s most epic symphonies, in the fourth movement the music turns inward, into a place of mystery, darkness, night and …

In 2019, Sasha Scott won the senior category of the BBC Young Composer of the Year, with an electroacoustic work titled Humans May Not Apply. The following year she composed a new work for the BBC Concert Orchestra, Nerve, though due to the pandemic its performance was delayed until August …

There are some composers whose music i keep coming back to not out of love but with the attitude of a nutcracker, trying once again to break through its tough, tenacious surface. i don’t know Milton Babbitt‘s music well (as i admitted when noting his centenary a few years back), …

Today’s Advent Calendar piece is the first of two live, untitled performances given by Spanish sound artist Francisco López at Cafe Oto in London in March 2015. The performances were originally presented in four channels, with members of the audience invited to wear eye masks in order to plunge themselves …

Though i don’t (any longer) have a religious bone in my body, i’m nonetheless drawn to the paintings of John Martin, particularly his vast, frenzied depictions of some of the more apocalyptic events described in the Bible. i find myself thinking of Martin’s paintings while listening to On the Face …

In last year’s Advent Calendar i featured an untitled piece by Max de Wardener from a live performance at the Southbank Centre in March 2014. On the same occasion he presented a new version of Until my Blood is Pure, originally included on his 2002 EP Stops. That version, for …

Pierre Boulez composed his piano work Douze Notations in 1945. After its première in February of that year (by Yvette Grimaud), the piece was subsequently withdrawn by Boulez (evidently already regarding it as outdated), who only relented and allowed it to be published in the mid-1980s. Despite this, in 1946 …

Today’s Advent Calendar piece is an example of what may well prove to be a substantial body of work that we might call ‘Covid music’, composed during the pandemic. Hold, by Northern Irish composer Elaine Agnew, is a short work for string orchestra responding to the experience of lockdown in …