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Blog » Between Worlds: April Concerts

28 Mar  

A concert last night by students of the Hochschule für Musik revealed much about standards in Swiss higher education. The ambitious programme contained Cage’s First Construction (In Metal) and Six for six percussionists, Feldman’s Instruments II, Improvisations sur Mallarmé II (No. 3 from Pli selon pli) and Ligeti’s Piano Concerto. 

 

The two Cage works are eminently performable by students, as was proved. I need not have been so sceptical that they could pull off the Boulez and the Ligeti, however. The two soloists coped brilliantly with the distinct virtuosic requirements of each work:  soprano Céline Wasmer singing Boulez’s difficult lines with otherworldly expressivity;  pianist Krill Zwegintsow providing machine-like stability in the Ligeti. Student Ensemble Diagonal likewise provided sensitivity in the former, thrillingly focus in the latter. Only in the Feldman did the need for fine control tax the players to the point where it was in danger of interfering with the meaning of the music. And this hardly surprised; the Feldman, which is a long span of pianissimo entries, often in difficult tessituras, requires phenomenal control. Conductor Jürg Henneberger, who is obviously a bit of a fixture here in Basel (he also conducted the Ensemble Phoenix concert on 16th), did a superb job leading these youngsters. 

 

Tomorrow, the Hochschule in cooperation with OperAvenir, give their first performance of a new production of the Rape of Lucretia at Theater Basel. It’s one of the few Britten operas I don’t know at all, so I hope to visit before the end of the run on 25th April. 

 

Talking of opera, 11th April sees the world première of Tansy Davies’s Between Worlds with ENO (performing at the Barbican, not the Coliseum). The title of the work derives from the dreadful scenario it describes: a group of people are trapped in one of the World Trade Center Towers, above where it has been hit and therefore unable to descend. They are, quite literally, ‘caught between earth and heaven, life and death.’ There are a total of eight performances the last being on 25th April. 

 

There are two chances in the UK to hear works by emerging composers. The first is at Hoddinott Hall, Cardiff on 1st April, where selected composers from the workshop stage of the Composition:Wales project will have their pieces performed by BBC NOW under Jac van Steen. Meanwhile in London the LSO Soundhub project will perform chamber compositions by Maxim Boon, Laurence Osborn, Helen Papaioannou, Robert Szymanek, Laurie Tompkins and Aaron Holloway-Nahum; all of whom are in the second year of their membership of the scheme.

 

The Budapest Spring Festival runs from April 10th–26th. As well as more standard orchestral fare, there are a few premières on offer. On 24th April there is there first chance to hear Péter Nógrádi’s Partita - Four paintings by Csontváry for the string orchestra, Zoltán Kovács’s Pictures of Taormina and László Dubrovay’s Csontváry - 3 symphonic images for orchestra. There are also works by Miklós Kocsár and Péter Tóth. The day after is the Hungarian première of Gyula Fekete’s piano concerto The Dream of the Red Chamber.

 

Other notable premières this month include James Macmillan’s St Luke’s Passion at the Barbican on 5th (London première); Robert Matthew-Walker’s Sonata No. 2 for violin and piano (world première) at Wigmore Hall on 12th; Jake Heggie's Camille Claudel: Into the Fire (European première) at the Barbican on 14th; David Matthews’ Symphony No. 8 (world première) at Bridgewater Hall on 17th; Georg Friedrich Haas’s Atthis (UK première) at Royal Opera House on 23rd–25th; and Christopher Rouse Prospero’s Rooms (UK première) at the Barbican on 24th. The New York Philharmonic are also in London around the middle of the month, bringing with them a taste of their Contact! series in the form of works by Daniel Bjarnasson, Timo Andres, Missy Mazzoli, Esa-Pekka Salonen and Shulamit Ran at the Barbican on 18th.

 

A ‘Happy Birthday’ to Pierre Boulez, who turned 90 just the day-before-yesterday. If you would like to listen to selections from the Barbican Total Immersion day, this is available on iPlayer for the next three weeks. There is also a 45-minute tribute programme with Petroc Trelawny, Paul Driver and Morag Grant. The celebrations of his work continue into April with Peter Eötvös conducting Livre pour cordes and Rituel in memoriam Bruno Maderna with the LSO at the Philharmonie de Paris on 20th and Matthias Pintscher conducting Syrinx, Memoriale and Sur Incises with Ensemble Intercontemporain at the Barbican on 28th.



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