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 it’s 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 one …

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 …

Despite the quantity of abstract music featured at this year’s Estonian Music Days, it wasn’t surprising – with the theme “soul” looming over the Tallinn part of the festival – that many composers avoided abstraction and sought to create more tangible, referential and / or emotionally-charged music. Indeed, this was …

Today marks the 100th anniversary of the birth of György Ligeti, one of the 20th century’s most significant and consistently engaging composers. i’ve been spending time lately with three new releases that together present an excellent overview of Ligeti’s output, from the perspectives of his music for piano, choir and …

Surely the most completely abstract music i heard at this year’s Estonian Music Days was Blue Moon Station by Latvian composer Alise Rancāne. The piece involved all six members of the Ensemble of the Estonian Electronic Music Society (EMA) huddled around a computer keyboard playing a video game projected on …

In previous accounts of my annual pilgrimage to Eesti Muusika Päevad, the Estonian Music Days, i’ve tended to remark on the festival’s insistence on a theme, usually in regard to how innocuous or irrelevant it seemed in relation to the actual concerts. This year, the Tallinn portion of the festival …

You would think, by now, i’d be getting the hang of this piece. Éliane Radigue‘s Occam Delta XV, conceived for the Bozzini Quartet, has crossed my path on a couple of occasions, first at its UK première in Huddersfield in 2018, a performance that i subsequently explored in more depth, …

An occupational hazard with writing about music festivals is the inability of readers to be able to experience any of the music for themselves. However, in the case of this year’s Forum Wallis festival, three of the most interesting performances have been uploaded to Javier Hagen and Ulrike Mayer-Spohn‘s YouTube …

My annual pilgrimage to Eesti Muusika Paevad, the Estonian Music Days, begins today. i’ll be in Tallinn for the next ten days, immersing myself in all the goings-on, and all being well i’ll also be recording a new 5:4 Dialogue while i’m there. Words aplenty once i get back.

Very few performances at Only Connect 2023 failed to impress. Among the exceptions was Caminante by Michael Pisaro, premièred on the opening night by Trondheim Sinfonietta with bassist Michael Francis Duch. Though the work began well, establishing a nicely darkened texture that became almost gritty and dirty, as soon as …