UK

i’m delighted to present the latest instalment in my occasional long-form conversation series The Dialogues. My guest this time is UK-born, Norway-based composer Natasha Barrett, whose music i’ve deeply admired for at least 20 years. Barrett is both a veteran and a pioneer of electronic music, utilising a convoluted mixture …

i wish i could remember how i first came into contact with African Sanctus. All i can be certain of is that it was at least 25 years ago, as i took part in a performance of the piece (being in charge of the tape part) given by Coventry Philharmonic …

Today’s Advent Calendar door contains a miniature by James Dillon. Similar to Dragonfly, explored during this year’s Lent Series, Charm (2008) is another short piano work composed quickly for a friend. The title is interpretable in a variety of ways (in a pre-concert talk, Dillon even mentioned the charm quark …

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 …

Behind yesterday’s Advent Calendar door was an angel bathed in glory; today, characters and a context rather less salubrious. Broad St. Burlesque is an homage to the street in Birmingham that its composer, Zoe Martlew, not inaccurately describes as “the city’s principal party slag drag”. The piece was commissioned by …

Today’s Advent Calendar piece is a short orchestral work by Deborah Pritchard that takes its inspiration, and its title, from a painting by J. M. W. Turner. The Angel Standing in the Sun dates from relatively late in Turner’s life, being exhibited in 1846 (he died five years later). It’s …

Today’s Advent Calendar work is one of Webernesque miniature proportions. Composed in 1976, Howard Skempton‘s One for the Road for solo accordion is a typically strange piece, full of paradoxes. In a not dissimilar way to a more recent work like Oculus, Skempton’s material is obsessive, cycling around a single …

Though at first glance the music of Aphex Twin might not seem a likely subject for instrumental arrangement, the fact is that his work has attracted this treatment on a number of occasions, usually with surprising success. As far back as 1995, Philip Glass created an outstanding orchestration of the …

Behind today’s Advent Calendar door is a short electroacoustic work by Bethan Morgan-Williams. The unusual word in the work’s title originates from one of my favourite linguistical sources, the wonderful Dictionary of Obscure Sorrows, where ‘kenopsia’ (presumably a blending of the Greek words ‘kenosis’, indicating an act of emptying or …

Today’s Advent Calendar piece is a beautiful curiosity from 2014 by British composer Max de Wardener. This particular piece, which is untitled, came as the last of three new works by de Wardener performed live at the Southbank Centre in 2014, the first of which was also untitled, while the …

One of my recurring trains of thought during HCMF 2021 was concerned with the notion of continuity. This was, very simply, due to the fact that all of the best things i heard at the festival had an incredibly clear, logical sense running through them that, regardless of their inner …

Though this year it only lasted five days instead of ten, i came away from the 2021 Huddersfield Contemporary Music Festival with the distinct impression that, somehow, the usual quantity of music had been compressed into a reduced time frame. That’s not, mercifully, because of any attempt to shoehorn many …

Not everything i heard at Ultima 2021 was bound up in convolutions of meaning. Ryoji Ikeda‘s forays into the world of percussion (which i previously explored in 2018) are a sidestep away from his more central work in multi-layered representations and interpretations of data, instead concerned much more directly with …

What music “means” – to the composer, and to the listener – is always a fluid, unpredictable thing, and it’s debatable to what extent we have much control over it. For the last few years, as summer has drawn to a close i’ve found myself listening to a short work …

The last time i wrote about a Birmingham Contemporary Music Group concert, i began the article with an observation, a complaint and a plea; this time, i’m starting with a shock and a nice surprise. The shock comes from the realisation that that previous concert took place no fewer than …

As i may have said previously, i have a love-hate relationship with film scores. Being something of a movie addict, i’m obviously encountering them all the time, and at their best, i adore how they don’t merely accompany the on-screen drama but contain their own distinctive parallel narrative, interesting in …

Until i began spending time with George Benjamin‘s new Concerto for Orchestra, given its first performance at last Monday’s Prom concert, i hadn’t realised how tired i’d become with narrative. Not that there’s anything wrong or even problematic about the concepts and conceits that have festooned each of the new …

Last Friday brought the first UK performance of the shortest, and by far the simplest, of this year’s Proms premières, Charlotte Bray‘s Where Icebergs Dance Away. Coming in the wake of some highly complex new works (none more so than George Lewis’ Minds in Flux) this was rather refreshing. In …

More Proms premières, more demands that composers must ‘respond’ to existing music. Perhaps by now the Proms organisers regard this approach as an integral, even defining, part of its commissioning strategy, but it demonstrates a complete lack of faith and trust in composers to forge their own unique conceptions from …

This evening’s Prom concert, in addition to new works from Bernard Hughes and Nico Muhly, features the world première of Aetherworld by UK composer Shiva Feshareki. It’s a rare and very welcome instance of an electroacoustic work of contemporary music at the Proms, and in preparation for it here are Shiva’s answers …