Archive for the “London” Category
One of the most appealing and satisfying things about the Proms is the way that they support and showcase British composers. There are a number of commissions each year (a Proms commission is a sort of right of passage moment for up and coming composers), and not first performances of recent works as well. It is very surprising, and a just cause for sorrow and consternation, then, that the Proms Matinee on August 11 at Cadogan Hall, given by Britten Sinfonia, with soloists Nicolas Hodges, Susan Bickley, and Nicholas Daniel, conducted by Clark Rundell, was the occasion of the first Proms performance in twenty-four years of any music of Michael Finnissy. Finnissy, as well as being one of the most vital and interesting composers alive, is undoubtedly one of the major figures of British music, as a teacher as well as a composer, and the absence of his music from the Proms for so long, let alone his not having received a Proms commission, over all that time is simple inexplicable, as well as being sad for all of us who have lost by such an omission.
The Finnissy work included on this particular concert was the 36-year-old Second Piano Concerto, with Nicolas Hodges as soloist. One of the usual memes having to do with the concerto, that it is a piece opposing the soloist as the one against the many in the orchestra is not exactly operative in this case. First of all the band is a small one, strings and two flutes, and rather than opposing the solo part, they pick out and highlight details in the stream of the work’s continuity which is entirely in the almost ceaseless piano part. Finnissy’s music is often thought of as fearsome, and it can be extremely difficult to play (not that you could tell that from Hodges’s beautiful and lucid performance), but the sound of it, when it’s done well, as it was here, is downright beguiling–gossamer and shimmering, and its continuity, a sort of stream of consciousness, clear and convincing, and easy to follow. It is to be hoped that it won’t be another 24 years before there’s more Finnissy on the Proms.
Hodges also presented the UK Premier of Harrision Birtwistle’s Gigue Machine for solo piano. Making the difficulties and complications (and they are considerable) obvious is one of the points of this piece, which is an exploration and deconstruction of the rhythms and phrasings of the old dance form, and they were presented and dispatched both compositionally by Birtwistle and pianistically by Hodges, with flair and aplomb, and obvious relish. Read the rest of this entry »
Today is the last day you can hear Derive 2 at the BBC’s web site–they stream for one week after the concert. There was a CD released earlier this year that contains this same version (which supersedes the earlier version released by DGG in 2005). I don’t generally think of double reeds in Boulez’s music, but he really gives the oboe and bassoon some wonderful music in Derive 2. It’s conducted by Daniel Barenboim, whose Boulez performances are always colorful and invigorating. You can listen to it here.
Some wonderful recent works heard earlier on the Proms: Canon Fever by Mark-Anthony Turnage (premiere), Laterna Magica by Saariaho (the strongest work of hers that I’ve heard in some time — I’m not a fan of her recent music, preferring her work from the 80s and 90s), and a tight, expressive performance of City Noir, conducted by its composer, John Adams, leading an orchestra featuring students from Juilliard and the Royal Academy of Music.
I’m still trying to catch up to this week’s concerts, which include more Boulez, Steve Martland’s Street Songs, and a Kronos Quartet recital. The home page for the 2012 Proms on BBC is here.
Update (July 5, 2011): The Villiers Quartet has revised its guidelines for its new music competition. The most notable change is the age restriction, which has been raised to 35. Good luck!
London’s Villiers Quartet is seeking new works by composers under 35. If you’re an emerging composer looking for an international performance opportunity, check out the guidelines to have your work premiered next season by this exciting, young ensemble. I’ll let the ensemble’s first violinist, James Dickenson, explain:
And here are their guidelines, which can also be found at the Villiers Quartet’s web site.
The 2012 Villiers Quartet New Works Competition
The Villiers Quartet seeks new compositions from young composers as part of its 2011-2012 concert season at St Andrew’s Church, Fulham Fields, London, UK. The concert season, which already consists of string quartets by Haydn, Mendelssohn, Delius, and Beethoven, will feature a competition open to an international field of new and upcoming composers.
Three finalists will be chosen via online voting and have their works performed in London by the Villiers Quartet on April 29th, 2012. The winner will be determined at the concert by audience vote. The winner will receive a prize of £500 and a studio recording of their piece, plus inclusion of their work into the Villiers Quartet repertoire for upcoming seasons.
This competition is open to composers aged 35 and under as of January 5th, 2012.
All composition entries must be original and unpublished works written for string quartet instrumentation: 2 violins, 1 viola, 1 cello.
Compositions must be no longer than 20 minutes in length. You may write whatever form you want, and there is no limit to the number of movements. For instance, you might be inspired to write a one movement rhapsodic interlude. You might write a 20 movement work where each movement lasts one minute. Or you might follow the classical four-movement form as laid out by Haydn. The floor is wide open.
Deadline for submissions is January 5th, 2012. Submissions can be sent electronically, or by post. Applications sent by post must be postmarked no later than January 5th, 2012. Applications received or postmarked after this date may not be considered.
We encourage you to be creative and experimental. Most of all, we want to hear your music. For more information on competition guidelines, visit www.villiersquartet.com/2012competition.
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The Prom concert on August 24, by the London Symphony Orchestra and Chorus, conducted by Valery Gergiev, opened with Nagasaki by Alfred Schnittke, his graduation piece from the Moscow Conservatory. In this piece for chorus, solo mezzo-soprano, and large orchestra (including a theremin), Schnittke set texts reflecting on the devastation of the Japanese city by the atomic bomb at the end of the Second World War by Anatoly Sofronov, described in Calum MacDonald’s program notes as “the official Soviet propaganda poet”, along with poems by two Japanese poets, Eisaku Yoneda and Shimazaki Tōson.
Although the piece was accepted by the Moscow Conservatory, its finale was considered by the Soviet Composers Union as not optimistic enough (probably only a Soviet bureaucrat could demand from a piece about the aftermath of a nuclear attack); Schnittke was accused of having succumbed to”Expressionism” and “forgetting the principles of Realism in music.” Schnittke rewrote the finale, using additional text by his friend Gerogy Fere, and it was approved for performance, which is received in 1959. It was not performed again in Schnittke’s lifetime.
Since it is basically a student piece and from the 50′s, it is probably not surprising that Nagasaki has none of the extreme modernist and post-modernist“funny business” which one thinks about as being characteristic of Schnittke’s music. It’s a rather straight-forward, very strong, very accomplished, very effective piece, showing the influence of Shostakovich. The first movement, which seems a little as though it might be the beginning of the St. Matthew Passion as arranged by Shostakovich, lingers strongly in this listener’s memory.
The second half of the concert was the Eighth Symphony of Dimitri Shostakovich. It is so easy to think about Shostakovich only in terms of his being some kind of political football, that it is often a surprise to come in contact with a piece that, due to an absence of a sexy back story and simply by its sheer quality, makes you realize just what a good composer he was–especially what a brilliant orchestrator. It’s full of striking material and endlessly inventive orchestration, but also very sure in its construction, with a very tight dramatic trajectory. The quieter philosophical last movement and particularly the long gentle coda, with its very light texture featuring a series of instrumental solos accompanied with strikingly unexpected combinations of instruments, is especially memorable. Its hard to imagine either of these pieces receiving better performances than Gergiev and the LSO gave them. Read the rest of this entry »
In Live From Golgotha by Gore Vidal, St. Timothy — who is an old man, and by that time the keeper of the story of the early church — is visited by time travelers from the future who try to persuade him to change his story. When he refuses, they simply travel further back in time and change the events. At one point Timothy is perplexed because he thinks he remembers what happened but he isn’t sure, which isn’t surprising since the actually events and, consequentially, events after those events, have been changed. His past — what he remembers — is different from what is now the actual past, and the present is also changing as the time travelers from the future continue to change the past. At least that’s how I remember it, but the specific details are not so important.
When I read the book I was struck by the fact that such a complex time situation was not problematic in what was essentially popular fiction, whereas some similar complexity of the perception of time in a piece of music would probably mark it as being a hopelessly esoteric and certainly inaccessible. I’m not sure why it is that that’s the case, but it came to mind during the late night Prom concert of music by Philip Glass. Richard Taruskin points out, in The Oxford History of Music that one of the main purposes of the early minimalists was to make sure that there was no hidden form in their music, that everything was audible and perceptible on the surface. This obviously gets a ways from a certain sort of pretentiousness and from some arcane justification of music that isn’t very much fun to listen to, or just plain doesn’t make sense, but it can also give works written that way a certain kind of flatness, and give the sense that the continuity of a piece is, in the words of one of the characters in The History Boys, “just one fucking thing after another.”
The program for the August 12 Proms, presented by the BBC Scottish Symphony Orchestra and Chorus, conducted by Dennis Russell Davies, with Gidon Kremer as soloist, consisted of two works of Philip Glass: his Violin Concerto and his 7th Symphony (“A Toltec Symphony”) . The Violin Concerto, written in 1987 for Paul Zukofsky, is one of Glass’s most popular pieces. It has three movements, fast, slow, fast, with a slower coda. Although Glass was quoted in the program notes as saying that he was trying to write a piece that his father, who loved all the major violin concertos, would like, it is, in the manner of Glass’s music, not melodic or thematic but rather based on shorts riffs which are developed, mainly through repetition. The second, in fact, is a baroque-y ground piece, with a clear line (melody, if you like) which is repeated many times. It is impossible to miss the masterly quality of the work or to be impressed by it. Its orchestration is striking and masterly; the violin is never covered by the orchestra. The first movement especially is haunting and its ending is very beautiful. I found myself before it was over wishing that there was a little more to listen to. One shouldn’t judge a piece by criteria that are not operative for its language and methodology, but it’s hard to imagine by what standards the second movement wouldn’t be too long. Read the rest of this entry »
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