UK

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 …

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 …

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 …

There can’t be many festivals that have as their name a direct command to the audience: Only Connect. This was my third time at Norway’s Only Connect festival, held this year in Trondheim, and each time i’ve attended there’s been a keen emphasis on the importance and necessity, from compositional, …

On 14 January 1953, Vaughan Williams’ Sinfonia Antartica – a symphony derived from his 1948 film score for Scott of the Antarctic – was premièred in Manchester. In the audience that evening was Peter Maxwell Davies who, in 1997, was commissioned by the British Antarctic Survey to create a 50th …

Do you now see the possibility of several symphonies? Yes, yes, I do, which just five years ago I would not have seen at all. But I do now feel … that it’s perhaps not too far-fetched to think that possibly I might be able to develop that. Paul Griffiths, …

Laurence Crane‘s music often sounds like a cross between a game and a puzzle, and that’s certainly the case with the next work i’m featuring in this year’s Lent Series, his Chamber Symphony No. 2 “The Australian”. That subtitle can be safely ignored; Crane has spoken of enjoying combining abstract …

The idea of a symphony can tend to suggest grandiosity and an epic sense of scale or significance, exemplified by those of Bruckner, Mahler, Scriabin and Pettersson, among others. But it needn’t be anything of the kind, working just as well at the opposite end of the continuum, greatly reduced …

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 …

Today’s piece of freely-available music comes via Yugen Art, an online repository of sound art that in some respects resembles a netlabel but is more aloof, publishing things online with an absolute minimum of fuss or extraneous (or even pertinent) information. i’ve written about works from the Yugen Art archive …

Seaming To is an English singer and musician whose work seems to be the product of, to date, three distinct periods of activity. She was a guest vocalist on some singles in the early 2000s, followed by her own first EP, Soda Slow, in 2006. Then things went quiet until …

The next music i’m featuring in my series exploring interesting free music is another soundtrack, again very short, this time from television. It’s something of an oddity, partly because it was never a ‘release’ in the usual sense of the word (and isn’t really available any longer), partly because it’s …

To begin my usual January focus on interesting free music, i’m returning to the ephemeral world of netlabels. Rural Colours appeared in 2010 as a tangential off-shoot from parent label Hibernate, which had begun the previous year. What distinguished them both from other netlabels was the fact that their releases …

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 …

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 …

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 …

In last year’s Advent Calendar i included Patrick Nunn’s instrumental arrangement of the Aphex Twin track ‘Nannou’; today i’m featuring another arrangement, this time Caleb Burhans’ acoustic take on ‘Blue Calx’, the only track on Aphex Twin’s classic 1994 album Selected Ambient Works Volume II to have an explicit title …

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 …