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Blog » Premieres at the 2010 BBC Proms

16 Jul  

Focus on Composers... The size and scale of the UK's foremost classical music festival, the BBC Proms, deservedly gets notice worldwide. But for us composers, it's also a fantastic way to hear who is working now in the genres of orchestral and chamber music.

The 2010 season offers a survey of some of the most highly-regarded British and international composers, as well as neglected masters and up-and-comers. And thanks to the BBC's excellent links, anyone anywhere can tune in to the Proms on line.

Here's a listing of composers with premieres coming up:

Hans Abrahamsen (born 1952)

Julian Anderson (born 1967)

George Benjamin (born 1960)

Cornelius Cardew (1936–1981)

Tansy Davies (born 1973)

Brett Dean (born 1961)

James Dillon (born 1950)

Jonathan Dove (born 1959)

Morton Feldman (1926–1987)

Brian Ferneyhough (born 1943)

Alissa Firsova (born 1986)

Graham Fitkin (born 1963)

Robin Holloway (born 1943)

Simon Holt (born 1958)

Gabriel Jackson (born 1962)

Jouni Kaipainen (born 1956)

James MacMillan (born 1959)

Martin Matalon (born 1958)

Colin Matthews (born 1946)

Stephen Montague (born 1943)

Thea Musgrave (born 1928)

Betty Olivero (born 1954)

Tarik O’Regan (born 1978)

Arvo Pärt (born 1935)

Albert Schnelzer (born 1972)

Gunther Schuller (born 1925)

Bent Sørensen (born 1958)

Mark-Anthony Turnage (born 1960)

Huw Watkins (born 1976)



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COMMENTS



 Misuc commenting on Premieres at the 2010 BBC Proms:
04 August 2010 at 16:23

Thank you, Arlene, for this info.If I had come across it earlier I would have looked up the dates from the Prom numbers and listened.

REVIEWS PART ONE

I did manage to listen in to a few using the BBC playback facility. Here are my impressions: [I listened to these 2 - 3 times]

1.BRETT DEAN: AMPHITHEATRE

Based on a children;s story in which a homeless girl lives in an ancient Roman amphitheatre, this is a work of extraordinary evocative power, very simply constructed to great effect. There is a regular to-and-fro of just two chords, which are repeated inumerable times, but not a hint of supermarket 'minimalism'. The chords haunt you till you think you can hear them even when they're not there [the effect is like when you see phantom blackberries sparkling in your eyes, when you've been picking real ones in the sunshine]

I wonder if he is thinking of writing an opera on this story. [An opera of his is coming up at the Edinburgh Festival later this summer.]

Two doubts: 1] I am not sure that he has placed the warlike section in the best place. 2] It is perhaps a pity that he didn't expand, elaborate,transpose, extend, develop....the two chord motif. It is so characteristic and poignant that Berg, say, would have allowed the slightest reference to stand for the whole, and he would therefore have been able to take the musical conception to a whole new level

2.LUKE BEDFORD: OUTBLAZE THE SKY

Superficially attractive at first, this piece consists of nothing but colourfully orchestrated chords [which do operate tonally] interrupted by ghastly glissandi. It wears very thin.

3.HARRISON BIRTWISTLE: SONANCE SEVERANCE

A typically hifalutin title for a mere half-pieee: a mini-compilation of undigested Birtwistle cliches: stage fanfares with braying trumpets, stabbing woodblocks, swirling strings, raging drums, screaming woodwind everything going on at once as on some sick-making merrygoround. Then, most perversely of all, it just stops. I think we are meant to be impressed by the last few solo trumpet notes, but despite all the fuss, not enough has actually happened to justify this attempted coup-de-theatre.

4.LIGETI: MUSICA RICERCATA 2

I wouldn't mention this ancient and unsuccessful unperformable [and presumably not meant to be performed] experiment-gone-wrong, a piece entirely made of two notes with a third coming up later] not worthy of Ligeti's memory, except that 1] theyhad the gall to play it at a prom, totally without context, presumably on th strength of his name. 2] In the context of another discussion, it is a very rare example of Ligeti [rather than Xenakis] being the one who totally failed to be 'musical'




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