Proms 2010

i think Tom Service put it best, a few years ago, when he described the Last Night of the Proms as a “calcified cadaver”. It is, there’s no question: beneath the merriment and the klaxons lies an occasion that died many, many years ago; it’s a concert in aspic, filled…

Prize for the longest title bestowed on a piece in this year’s Proms must surely go to Robin Holloway‘s RELIQUARY – Scenes from the life of Mary, Queen of Scots, enclosing an instrumentation of Robert Schumann’s ‘Gedichte der Königin Maria Stuart’, given its world première two days ago. Holloway has…

The prepenultimate première at this year’s Proms was one i’ve been very much looking forward to: Tansy Davies‘ Wild Card, receiving its first performance this evening. i’m fortunate to have had a number of lengthy conversations with Tansy in the last year or so, and her compositional mind is an…

The Proms is now well into its final straight, and the week began with the London première of James MacMillan‘s The Sacrifice – Three Interludes. As the title suggests, MacMillan has extracted the music from his 2007 opera, The Sacrifice. First of the three is “The Parting”, which opens, disarmingly,…

The final Proms Saturday Matinee, two days ago, featured the BBC Singers, exploring a variety of contemporary works inspired by early music. The singers were joined for the occasion by the Arditti Quartet and members of Endymion, with David Hill presiding. The concert opened with Judith Weir‘s millennial composition All…

On Thursday evening, the Proms was treated to the UK Première of Argentinian composer Martin Matalon‘s Lignes de fuite (“Lines of convergence”), tackled with obvious relish by the splendid BBC National Orchestra of Wales conducted by François-Xavier Roth. The work opens, appropriately, with a single static line, passed between the…

Graham Fitkin found himself in a sea of populism and accessibility for the world première of his new work PK, performed at the Proms on Monday. The title of his work comes from a reference to the Cornish village of Porthcurno—home of the well-known Minack Theatre, and where, coincidentally, i…

A week ago at the Proms — a more innocent time, before seemingly everyone started talking about Mark-Anthony Turnage’s new work for all the wrong reasons (Beyoncé) instead of the right ones (it’s crap) — came the first UK performance of Swedish composer Albert Schnelzer‘s wonderfully-titled A Freak in Burbank.…

Who’s this we see, shambling toward us like an unkempt Elvis Costello? why, it’s Mark-Anthony Turnage, the most unassuming pugilist in contemporary music. No-one likes to pick a fight in sound more than Turnage, and back in the early 1990s, when (thanks largely to Simon Rattle) he first became widely…

This year’s Proms has already had a couple of concerto premières, and the third, from Bent Sørensen, is one for piano and orchestra. Inspiration for the work, La mattina (Piano Concerto No. 2) is in part connected to Mozart, and Sørensen has opted for an orchestra of like size (no…

A few hours after the bizarre final notes of Arvo Pärt’s Symphony No. 4 had faded away, the BBC Scottish Symphony Orchestra and conductor Ilan Volkov came to the Royal Albert Hall to present the Proms with a late-night performance of rather more experimental fare. They began with one of…

Last Friday evening’s Prom concert, given by the Philharmonia Orchestra conducted by Esa-Pekka Salonen, brought to the UK Arvo Pärt‘s first symphony in almost four decades: his fourth, subtitled (with both geographical and theological connotations) ‘Los Angeles’. However, before Pärt’s work—in an imaginative, even provocative bit of concert programming—came a short…

As far back as 1988, in his seminal essay on what was, at the time, laughingly called ‘the New Complexity’, Richard Toop described the Scottish composer James Dillon—even within that narrow niche—as an ‘outsider’. Over two decades on, in Dillon’s sixtieth year, little as changed; he remains relatively unknown within…

Tuesday 17 August’s Proms concert brought the world première of Huw Watkins‘ Violin Concerto, the second new violin concerto heard this season. The opening movement sets a commanding tone, its fast tempo instigated by the solo violin, surrounded by pointillistic contributions from winds and upper strings, firmly drummed in place…

For this year’s Proms, Saturday 14 August was designated “Bach Day”, and buried beneath all the BWVs were two new works, by Tarik O’Regan and Alissa Firsova, both works described as ‘arrangements’. O’Regan’s approach, as he saw it, was to tease out ‘hidden’ musical lines within the opening movement of…

A world première from Stephen Montague is always an exciting prospect; while hardly an avant-garde figure, he’s highly unpredictable, and one imagines neither the BBC nor the audience could have envisaged what Montague would ultimately present them with in his new work Wilful Chants, given its first performance by the…

Saturday 7 August’s Proms concert saw the first London performance of Julian Anderson‘s 25-minute Fantasias, a work the National Youth Orchestra has been playing around the country for the last few days, all under the direction of Semyon Bychkov. It’s a work in five movements, the first of which puts…

So, where were we? Ah yes, The Proms; my catchup starts with the concert that took place on Friday 6 August, given by the splendid Birmingham Contemporary Music Group. Oliver Knussen‘s Two Organa is a work all the more engaging for its entirely lopsided nature. The first ‘organum’, “Notre Dame…

Another day, another première—this time, it was the first London performance of George Benjamin‘s Duet, for piano and orchestra. In the solo rôle is the unsurpassable Pierre-Laurent Aimard, and he precedes Benjamin’s work with a rendition of György Ligeti‘s “Mesto, rigido e ceremoniale”, the second piece from his enthralling Musica…

Tonight’s Prom concert opened with another London première, Amphitheatre by the Australian composer Brett Dean, who won last year’s prestigious Grawemeyer Prize. The work was composed a decade ago, and appropriately enough was presented this evening by the Australian Youth Orchestra, conducted by the effervescent Mark Elder. The clarity of…