On the August 21 Prom concert The City of London Sinfonia, with Ian Bostridge, tenor, and Roderick Williams, baritone, conducted by Stephen Layton, presented he first performance of Colin Matthews’s No Man’s Land, which had been commissioned by the Boltini (Family) Trust to commemorate the group’s fortieth anniversary. The commission was offered to Matthews by the founder of the Sinfonia, Richard Hickock, three days before his sudden death in November, 2008, and the work is dedicated to his memory. In planning what to write Matthews’s thoughts turned toward the First World War. He has been obsessed with the war for

For the students in Aspen’s Composition Individual Studies Program, the last week of the festival culminated the final student composers’ concert last Friday, August 19th. This evening of music not only featured large works by the six students of George Tsontakis, but also featured the Aspen-first: an Exquisite Corpse composition created by all 12 of this half-session’s composition students. My review of the August 12th composers’ concert presaged the strength of Friday’s program and – despite offering an unconventional lineup of ensembles – the featured works did not disappoint my auguring. Patrick O’Malley’s Five Scales for Brass Quintet – the

On Four Saturdays in August and September, the BBC Proms has been presenting Saturday matinee concerts in Cadogan Hall in Sloane Square. On August 20, The London Sinfonietta, the BBC Singers, soloists Andrew Watts, Jeffrey Lloyd-Roberts, and Nicolas Hodges, conducted by David Atherton, performed works of Peter Maxwell Davies and Harrison Birtwistle, along with the first performance of a work commissioned by the BBC from Georges Aperghis. Davies’s Il rozzo martello (The Crude Hammer), written for the BBC Singers in 1997sets a sonnet by Michaelangelo, preceded by a stanza from Dante’s Paradiso (II-127-132) and followed by an prose annotation of

I have been a hack for nearly 50 years now. Because most of those years were during the age of newsprint, large swathes of Brazilian rain forest now lay barren as a consequence of my commercial  renderings.  Most of the stuff was crap that I didn’t bother to  read the first time, much less a second time.  I occasionally stumble across something on the Internet that I wrote years ago and don’t recognize it as my own.  I was reminded of this last week after I got an e-mail from a German broadcaster named Rainer Schlenz: I’m journalist working with

The logic according to which the Copland Fanfare for the Common Man and the Barber Adagio for Strings make good companion pieces on a concert for Arnold Bax’s Second Symphony and the Bartok Second Piano Concerto eludes me. When you add that that’s just the first two thirds of a concert which also includes the Prokofiev Fourth Symphony, it gets even more curious. That was, however, the content of the Proms concert presented on August 16 by the Royal Philharmonic Orchestra, conducted by Andrew Litton. Fanfare for the Common Man is the sort of piece that could be described as

This is my first year at the Aspen Music Festival, and the way the second session composition program has been run is a little different than it usually is. Namely, the two composition recitals have necessarily been divided evenly among Syd Hodkinson and George Tsontakis’ studios, six on each night with Syd’s kids – or the “Hodkie’s” as some of us call our group – going first, on last Friday, August 12th (yes, that was our poster). The reason for this is a scheduling conflict George Tsontakis had thanks to an appearance at the Cabrillo Festival he had committed to