Image from The Firework-Maker's Daughter
It’s hard not to feel a bit bucked at this time of year. Today, as I look out of my window, I see bright sunlight, budding trees and flowering bulbs. I also hear, slightly annoyingly – since it is in my roof-space – nesting birds. The odometer of life may ominously continue ticking, but the presence of so much that is ‘new’ makes one feel less aged. ‘April hath put a spirit of youth in everything.’
Of course ‘newness’ is concept that is rather important to ‘New’ Music, for obvious enough reasons. And this month brings forth its fair share of premières. Some of these, however, are youthful in a different way, since they contain music by the next generation of composers. This is the case, for example, with three concerts by student composers. One of these features Maury von Loon, David Everson, Jason Mitchell and Jennifer Harris at the Sherwell Theatre, Plymouth University. The other two will take place at Ircam in Paris and mark the end of a year of study for young composers in the Cursus for Composition and Computer Music programme.
There are also a noticeable number of courses designed to help and support young composers. Some of the best of these are run by BCMG (many of which are on-going): ‘Feel the Buzz’, a composing project for 14-18 year olds; Family Music Maze, for 8-11 year olds; the Zigzag Ensemble, a composing and improvising group for 12-16 year olds; and BBC Inspire Composer Lab, a day-long workshop for 12-18 year olds. The LSO also has two schemes: their Futureworks for Young Composers, which invites composers aged 14-18 for a day of composition workshops and glimpses behind the scenes; and their continuing Panufnik Composers’ Project.
Two contemporary music events might also be appealing choices for audiences who are young at heart. The first is a performance, again by BCMG, of Into the Little Hill, George Benjamin’s reimagining of the Pied Piper story. It will be performed as part of a day exploring his music at Wigmore Hall. Also a good bet would be The Firework-Maker’s Daughter by CT’s own David Bruce. The opera, based upon a fairytale by Philip Pullman, is aimed at audiences of all ages. It will receive performances from 3rd–13th April at Lindbury Studio Theatre.
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I’m a pretty ordinary music lover and a very conflicted composer. As a music lover I am just as likely to listen to Monteverdi, Purcell, Bach, Mozart, Beethoven, Berlioz or Mahler as I am to contemporary music. As a composer I’m conflicted because I recognise the power of the tonal canon but also love so much ‘difficult’ twentieth and twenty-first century music, am so constantly captivated by its strange sounds and ability to surprise. Here’s the thing, however: even if we limit our listening only to post-war classical music there is enough choice even to keep people as conflicted as me happy. Why then is the classical listening public so fixated on the past?
Take this month’s CD releases, for example, the range of style on offer is extraordinary, all of it of the highest quality. For those who like contemporary sounds, but don’t like its tendency towards formal abstraction, for example, try a new disc on Naxos featuring Samuel Adler’s Cantos and other works. Better known, perhaps, by musicians as the writer of a didactic tome on orchestration and a fearsome one on sight-singing, he is a composer of great organizational clarity. Some might argue that his music lacks a lightness of touch, but you could just as easily say that about several highly regarded Romantic composers. His Cantos, a series of works for solo instruments (on this disk are all those for strings), are very fine, less adventurous than Berio’s Sequenzas, certainly, but no less polished.
If you adore, as do I, the sounds of a composer pushing the technical envelope, of something that requires you to listen with different ears and an open mind, Penderecki is often a good bet. There is an excellent new disc of his three string quartets on Naxos paired with Lutosławski’s single quartet. The sound world of the first two totally avoids, as with many of his pieces at the time, conventional musical ideas in favour of instrumental sonorities. The effect, especially, in the first quartet is as exhilarating as listening to the visceral sounds of African drumming. The third quartet, on the other hand, is written in Penderecki’s more recent neo-Romantic style.
A composer whose style offers much for those who hanker after the world of tonality is Deirdre Gribbin, who has professed an interest in knitting together austere chromaticism with music that strongly uses elements of tonality. A good introduction to her engaging sound world is to be found in her new disk Island People, just released on NMC. Her music is influenced by Celtic myth, storytelling and folk tradition and displays an unwavering sureness of touch in relation to vocal writing.
Joby Talbot is composer perhaps best known for his film and television work, especially A Hitchhiker’s Guide to the Galaxy and the hit BBC comedies The League of Gentleman and Psychoville. He has also, however, worked with some of Europe’s leading choreographers, including with Christopher Wheeldon on a production for The Royal Ballet of Lewis Carroll’s Alice in Wonderland. A highlights disk of this score has just been released on Signum Classics. The music is quirkily tonal, unabashedly melodic, imaginatively orchestrated and virtuously (because it is well written) accessible. Some might argue that this delightful music isn’t properly ‘contemporary classical’, to which I would blow a very large raspberry. If you like any of the standard classical ballet repertoire – Tchaikovsky et al – you will love this.
There are other disks worth exploring this month: Esa-Pekka Salonen’s complete recording of Lutosławski’s Symphonies (only the recording of the first, however, is recent), a disk of Helmut Walcha organ music, more Penderecki in the shape of his Piano Concerto and Flute Concerto and Tim Brady’s Symphony No. 3 Atacama. I have dipped into and enjoyed them all. I am exhausted, however, by the need to summarize music in words, so invite you to go and have a listen, especially if you have Spotify.
And if my thumbnail portraits and final perfunctory summary seem only to scratch the surface, that reinforces my opening point. So often when I come to write these CD roundups I am bewildered, excited and overwhelmed by the volume, range and quality of new music that is available today. What composers are doing now, it seems to me, is creating a world of listening possibilities that, in our own time, is as varied as all of the music in the classical canon. If it makes ‘now’ an exciting time, imagine what it makes ‘next’.
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C:T talks to Robert Paterson, composer, percussionist and artistic director of the American Modern Ensemble.
Tell us something about your background.
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I am a composer and live in New York City. I also conduct and play percussion - mostly marimba, and with six mallets - but I definitely spend most of my life composing. I am also the artistic director of the American Modern Ensemble. I currently don't teach during the year, although I did, for many years, and might again someday, if the right opportunity arises. I make my living as a composer, and via "composer-related activities."
How did you start composing?
I began composing when I was thirteen. I was playing percussion in an ad-hoc percussion quartet at my school in Buffalo, NY, and we didn't have anything to play, so the other percussionists and I decided that I would go home that week and write something. Once my parents figured out what I was up to, they suggested I take composition lessons, so I began studying with William Ortiz, a Puerto Rican composer who was a graduate student at SUNY Buffalo at the time.
>> Read the rest of the interview here
I’ve just augmented CT’s concert listings with my own summary of concerts that I have found hither and thither. As usual, however, I’ve not listed individual concerts from festivals, which can be found by visiting their websites. There are several of interest this month.
From 8th-24th March Ars Musica International Contemporary Music Festival is celebrating its 25th anniversary. Using the theme ‘Play Time’ audiences are encouraged to make a game of the festival with a programme that, it says, runs like a hopscotch. Whilst probably just a bit of harmless marketing, the programme itself is impressive, with 37 world premières in all. The pdf of it is available here in French only.
Nonclassical’s new (and possibly one-off) Pioneers of Electronic Music festival runs from 6-17th March in various London venues. Aiming to uncover the ‘mavericks, machines, heroes and heroines that helped shape modern music’, it includes a look at audiovisual instruments inspired by the life and work of Daphne Oram; a synth lab in which participants build their own instrument; a concert with electronic innovator Peter Zinovieff and violinist Aisha Orazbayeva; the presentation of films that pioneered electronic music; and a concert of electronic music that starts with Raymond Scott’s Manhattan Research, scored and arranged for an ensemble of rare vintage synthesizers.
The Lucerne Festival at Easter, which runs from 16th-24th March, is more mainstream, but there is the chance to hear, on 20th March, John Adams' The Gospel According to the Other Mary, which seems to be on something of a European tour (there are also March concerts at the Salle Pleyel and the Barbican), and, on 23rd, Benjamin Britten’s War Requiem.
On 9th March there is, finally, another Total Immersion to enjoy. The theme is ‘New from the North’, meaning Nordic and Baltic states. Composers represented include: Hans Abrahamsen, Jouni Kaipainen, Kaija Saariaho, Poul Ruders, Per Nørgård, Esa-Pekka Salonen, Einojuhani Rautavaara and Magnus Lindberg.
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Even given that I am no expert on the music of Kenneth Hesketh, my reaction on listening to Wunderkammer(konzert), the first album dedicated to his music was: ‘long overdue’. It seems curious that music of such obvious quality is not more widely recorded.
The disc, just released on NMC, contains three orchestral works – A Rhyme for the Season, Graven Image and At God Speeded Summer’s End – and two for large ensemble – Ein Lichtspiel for 17 players and Wunderkammer(konzert) for 13 players. The performing forces, the Royal Liverpool Philharmonic and Ensemble 10/10 (which is formed from the orchestra) reflect Hesketh’s Liverpudlian roots.
As a boy Hesketh sang at the cavernous Liverpool Anglican Cathedral. He has since remarked that the qualities of that building – especially its huge acoustic – led to his music being similarly bathed in a ‘generous sustained resonance’. This quality is everywhere apparent here. Musical figures drift and dart in and out of focus in dense and intoxicating textures, forming a disparate and yet somehow unified musical line. This is evident especially in the rich orchestral textures of At God Speeded Summer’s End or A Rhyme for the Season. This fondness for orchestral colour also owes something to Hesketh’s love of turn of the century Franco-Russian composers, a trait he shares with Oliver Knussen, whose Flourish for Fireworks may perhaps have have been a model for the arresting concert-opener A Rhyme for the Season.
As with Knussen, colourful and exuberant textures are, happily, channelled with clear-headed precision. Sometimes there are obvious structural markers, as in the return of the low percussion at the end of Ein Lichtspiel. Often, however, Hesketh impishly seems to prefer to keep the musical argument out of easy reach, and in doing so succeeds in making the ride all the more intriguing. Even where this is the case, though, there is always a sense of purpose, of pitch hierarchies being established and of material being worked through and developed.
There are many extra-musical associations to take in – the poetry of Dylan Thomas, Bauhaus period cinema, Cartesian philosophy, automata, medieval memento mori. One can choose to ignore them, of course, but they provide useful points of entry to the music and into a fascinating creative mind.
The recording and performance are excellent, the sleeve notes – which include a biographical note by Paul Griffiths – generous and informative. As with all NMC disks, the full recording is available on Spotify. There are also excerpts available on the NMC website. Highly recommended.
EMI has just released a new recording of Britten’s oft-maligned The Rape of Lucrecia. Its sparse sound world – more reminiscent of later works such as Curlew River – means it is unlikely ever to win the popularity of the opera it followed, Peter Grimes. The Aldeburgh Festival Ensemble and a marvellous group of singers under the sympathetic direction of Oliver Knussen make, however, a persuasive case for reappraisal.
Naxos’s survey of the music of Peter Maxwell Davies continues with new recordings of his Piccolo Concerto, Trumpet Concerto, Maxwell’s Reel, with Northern Lights and Klee Pictures. As with other discs in the series, these are conducted by the composer. Also on Naxos is a new programme of music by Alexander Goehr played by the London Sinfonietta under Oliver Knussen. It contains: When Adam Fell, Pastorals and Marching to Carcassonne.
Two recordings, finally, to watch out for. Previewed on NMC is a disc of music for voice and string quartet by Belfast-born composer Deirdre Gribbon. It will include her substantial works Island People and Crossing the Sea. The official release date is 11th March, though you can already listen to extracts on the NMC website. Deutsche Grammophon, on the other hand, are currently trailing a new disc entitled Pocket Symphonies by Sven Helbig. Slated for release on 22nd February, you can sample one track on Soundcloud, here.
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There are several events worth highlighting in February’s (newly updated) concert listings.
Total Immersion has been an enormously successful project over recent years, giving audiences a place to get to know music by some of contemporary music’s key figures. There is still time to get tickets for the latest in this series, featuring the music of Japan on 2nd February. The day focuses on the music of Toru Takemitsu, his contemporaries Akira Miyoshi and Toshio Hosokawa as well as that by next generation composers such as Dai Fujikura.
If you’re feeling the wintery lack of festivals, you should get yourself to Plymouth University, which is holding a four-day event beginning on 21st February. As well as creating a platform for music emerging from research, the Peninsula Arts Contemporary Music Festival will explore the theme of memory through both acoustic and electronic performances. There will be a number of premières, including new works by Mathew Slater, Alexis Kirke, Neil Rose & Shaun Lewin, Nick Ryan and Ignacio Brasa.
Not a concert, but interesting nevertheless, is a panel discussion to be held at Jerwood Hall, LSO St. Luke’s, London. Entitled Getting it Right, Julian Anderson will bring together leading figures in contemporary music including Mark-Anthony Turnage, Hans Abrahamsen, Steven Maddock, George Benjamin, Head of Composition at the Guildhall School Dr Julian Philips, Colin Matthews, Richard Causton and others, to explore the relationship between the Orchestra and the Composer.
As with Britten, 2013 marks the 100th birthday of Polish master Witold Lutoslawski (the exact birth date fell on January 25th). For those wishing to follow his birthday celebrations there is a new app for iOS entitled100/100 Lutoslawski. There’s not a lot to it, but it does contain a very handy day-by-day list of concert events during the year. So far this covers until the end of June, though more events will be added soon.
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A retelling of Benjamin Britten’s last years in yesterday’s Telegraph brought a tragic note to his centenary celebrations. The article was an extract from Paul Kildea’s new biography: Benjamin Britten: A Life in the 20th Century, not yet published.
I always understood that Britten’s heart condition, which eventually led to his heart valve being replaced in 1973, was congenital. That the operation didn’t cure the problem just seemed appalling bad luck, the stroke he suffered under the surgeon’s knife one of fate’s twists of the knife. Kildea, however, claims to have new information: that when the surgeon Donald Ross opened Britten’s chest he discovered ‘his aorta was riddled with tertiary syphilis’. Unfortunately, Britten had been chosen for a tissue valve which, given the state of his heart, could not be made to fit well. This might have been different if a mechanical valve had been used. As a result his heart functioned no better after the operation, which led to his continuing decline and death.
As to the origin of the disease, Kildea I think is right to point out that it is most likely that it came from Pears, who, unlike Britten, was known for his philandering. Pears was one of the men who could contract the disease whilst remaining symptom-free. A sad irony points out Kildea, is that ‘it left Britten, the more puritanical of the pair, with a sexually transmitted disease that slowly ate away at his heart, his [Pears’] bad behaviour increasing as his [Britten’s] health deteriorated’. Perhaps saddest of all was that in the 1940s, Britten could have been completely cured by a course of the new drug penicillin. By the time of the operation, even given the choice of a different heart valve, it was essentially too late to consider a complete recovery.
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The Britten centenary is marked this month by a couple of new discs of his cello music. Around Britten on Signum Classics features cellist Matthew Barley and includes Britten’s Third Suite for Cello, folksong works that Barley has re-arranged for his instrument as well as music by John Tavener and Gavin Bryars. The release also marks the beginning of a tour by Barley that will take Britten’s music to galleries, cafes, cathedrals, the library of Red House in Aldeburgh and even to a wood in Devon. Also specifically to mark the beginning of the Britten Centenary celebrations is a two-disc release on Hyperion with cellist Alban Gerhardt. This contains his Symphony for Cello and Orchestra, Sonata for Cello and Piano in C, Cello Suites 1-3 and Tema Sacher.
Continuing the cello theme, Wolfgang Boettcher has recorded a programme entitled Twentieth Century Works for Solo Cello on Nimbus. It includes works by Hindemith, Krenek, Dallapiccola, Ligeti, Lutoslawski and others. Similarly, on Decca cellist Alisa Weilerstein’s debut with the Staatskapelle Berlin includes a recording of Elliott Carter’s Cello Concerto. In a significant new release on DG, Esa-Pekka Salonen and the Orchestre Philharmonique de Radio France have recorded three important works by near-centenarian Henri Dutilleux: Correspondances, for soprano and orchestra; Tout un monde lontain, for cello and orchestra; and The Shadows of Time, 5 episodes pour orchestre.
There are four new recording of interest on Naxos. In their Latin American Classics series is a two-disc set of music by Mozart Carmargo Guarnieri, who, after Villa-Lobos, was the most important Brazilian composer of his generation. It contains Pontelos, Books 1-5, Suite Mirim and his Piano Sonata. The second volume of the survey of Rodrigo’s guitar music is also released this month. Played by Jeremy Jouve, it contains a selection from his works for solo guitar. Also in a continuing series is the release of Maxwell Davies’s Piano Concerto and Worldes Bliss with the Royal Philharmonic Orchestra under the baton of the composer. Finally there is a recording of James Whitbourn’s moving Annelies, a choral setting based upon The Diary of Anne Frank, performed by Westminster Williamson Voices, Arianna Zuckerman (soprano) and The Lincoln Trio under conductor James Jordan.
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My home office setup. The computer is that elegant little box to the right of my main monitor.
Many composers I talk to, even if they use a Windows PC, express an interest in swapping to Apple Mac. That was certainly my experience when I asked several composers to write here about using computers when composing. Apple computers, say the fanboys, are more intuitive, not prone to viruses, work better if you are already part of the Apple ecosystem, and, of course, they look rather pretty. The detractors argue that they are expensive, have less software, are, in actual fact, no more easy to use than Windows, and leave you less able to interact with the rest of the, mostly Microsoft, world.
I bought a Mac Mini before Christmas as a replacement for my ageing Windows 7 PC. There was no doubt that I was attracted to the prettiness of Apple computers, especially the edge-thin new iMac. In fact, I’d waited for months for the release of the new all-in-one desktop. Unfortunately, when it appeared it was £100 more than I had expected, and this finally persuaded me against it. It was, indeed, too expensive.
For those abandoning Windows PCs, however, there is another excellent option. For £499 you can get a bottom of the range Mac Mini. This means you have to supply your own keyboard, mouse, monitor and even DVD drive, but you still end up with the full Mac experience. I went for the slightly more expensive Mini: the quad core, 2.3GHz version with 1TB hard drive for £679. I wanted a bit more grunt for running Sibelius Sound Library. Buying a Mini also had one other advantage. With the exception of the expensive 27-inch iMac, all other flavours of Mac apart from the Minis come with memory that cannot be changed. This means you can upgrade the memory only when purchasing. Unfortunately, buying memory from Apple is like buying a cup of tea from Claridges: expensive but not discernibly better. I also had no idea how much I’d need. I could have ended up spending a fortune upgrading the memory, with no discernable benefit, or not putting in enough and permanently crippling my system. A Mac Mini comes with 4GB of memory that can be expanded by the user to 16GB. This allows you to upgrade when you see the need.
My next worry was how compatible it would be with all of my old Windows peripherals. Would I face another expense as I replaced my old USB external hard drives, keyboard, mouse, scanner, USB mini piano and even an old external CD/DVD drive? In fact, they all worked perfectly. The keyboard (for writing, not playing) was a bit odd, since some of the keys were in different places, but there are various tweaks you can make with free software, and it is now much like my old Windows keyboard. There is one glorious exception to this, however: the Windows key no longer does anything, This, for me, is a huge boon whilst using Sibelius; it used to drive me mad when I accidently hit the Windows key instead of Alt or Ctrl and the Start Menu popped up.
It would be unfair of me to compare the performance of my new machine to my Windows PC. That was very old indeed, so it will come as no surprise to say that the new Mac is smooth and fast. For those used to Windows 7 I would say that transferring to OSX10 is quite painless. They share an awful lot in common. Windows Explorer and Mac Finder are quite similar (though I still prefer Explorer I must admit), so too are the Taskbar and Dock. There are the same concepts of desktop, trash and so on. You won’t be able to use Internet Explorer, though there are so many excellent browsers now that that hardly matters. The real benefits of Mac come when you have already bought into the Apple ecosystem. I already owned an iPhone. This seamlessly integrates with the Mac. If I type a note, it appears on my Mac. If I take a photo, it appears on my Mac. An open tab on my phone appears on the desktop. And so on and vice versa. Cloud technology isn’t, of course, exclusive to Apple but Microsoft is a long way behind with integrating their phone and tablets in Windows 8, an operating system that has anyway had mixed reviews.
I use two programs more than any other on my computer: Sibelius and Word. If you are a light user of Word, you could opt for Apple’s Pages, which is much cheaper than Microsoft’s software and offers some compatibility with it. I prefer to use what everyone else has, and so bought the Mac version of Word from the outset.
The good news with Sibelius is that, from day one, the shipped software has supported both operating systems. I bought Sibelius 7 for my Windows PC, so I could install it on the Mac without further expense. On the old computer I couldn’t run the Sibelius Sound Library at all, so had to stick with general MIDI. Interestingly, even on a computer that, by any measure, is powerful, my new Mac will only run smallish scores with the Sibelius Sound Library. This leads me to think that I will, indeed, need to buy more memory. The sounds also load quite slowly on a spinning hard drive, so, if you can afford it, I would go for a Mac either with an SSD drive (like those used in phones: they are very fast but hold less data) or a Fusion Drive (which combines SSD with older technology to make a drive that is both fast and capacious). I could have specified a Fusion Drive on my Mac Mini for an extra £200. Again, it was too expensive…
The only other music programme I missed from my PC was Sound Forge, which allowed me to edit sound files in preparation for burning CDs or putting them on my website. Audacity, however, is a wave editor that, it turns out, is rather better than the version of Sound Forge I was using. It is also free. Mac also, finally, ships with a rather good MIDI sequencer in the form of Garage Band. It’s not aimed at professionals, but for those who occasionally dabble it’s a decent solution, and integrates with versions on iPad and iPhone.
In conclusion, whether you move to Mac or not (or, indeed, are on Mac and are considering moving to Windows) will increasingly depend on other factors, especially how much you value integration with the other technology, such as phones and tablets. I think other oft-quoted factors are less important. Viruses are an increasing problem on Macs and, actually, with proper precautions never gave me a serious problem in more than ten years of Windows PC use. Neither would I say that OSX is particularly ‘easy’ or ‘intuitive’ compared to Windows 7. They are very similar. Apple computers are definitely pretty but, in all honesty, I tend to forget about the ergonomic lines of a monitor when I am hard at work. And my office is always such a mess that a sleek iMac would probably ruin the look.
The fact of the matter is, both Windows and Apple desktop systems are incredibly capable and have all of the music software you will ever need. In my opinion, however, Apple, because of its tradition of building both software and hardware, has a much better integrated ecosystem. My iPhone and Mac speak effortlessly to each other. If you are an Android user, the Apple vs. Windows matter is more open. Google do offer a third alternative in the form of their Chromebook. This runs entirely on the Internet, however, and so offers few useful programs for musicians. Until Microsoft can shift more phones and tablets and convince the world that Windows 8 works, I remain convinced that moving to Apple Mac was the right decision for me.
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Happy New Year to you all! If you’re feeling over-indulged on ample sufficiencies of turkey, Christmas pud and mince pies, here’s a repast of a different sort: my preview of what is in store for contemporary music over the next twelve months. Bon appétit!
18th Qigan Chen London premiére of Reflet d’un temps disparu and world premiere of Raymond Yiu’s The London Citizen Exceedingly Injured. Barbican, BBCSO conducted by Long Yu.
27th Concert of Copland, Carter, Ives and John Adams. LSO/St Lawrence String Quartet conducted by John Adams. Barbican, London.
2nd Total Immersion: Sounds from Japan. Concerts, talks and films exploring the rich Japanese contemporary and traditional music scenes. Barbican, BBCSO and friends.
9th Huw Watkins Day. Featuring chamber works by the composer. Elias String Quartet. Wigmore Hall, London.
15th David Sawer Flesh and Blood (world première). BBCSO conducted by Ilan Volkov. Barbican, London.
15th Richard Baker The Tyranny of Fun (world première). BCMG conducted by Ryan Wigglesworth. CBSO Centre, Birmingham.
22nd Peninsula Arts Contemporary Music Festival. Roland Levinsky Arts Building, Plymouth.
26th-27th Repeating Patterns: the start of US minimalism. A concert in the London Sinfonietta's Landmarks series focusing on an introduction to the world of minimalism. London Sinfonietta. Purcell Room at QEH, London.
4th Composition: Wales. A day of workshops followed by premières of composers working in Wales. BBCNOW. BBC Hoddinott Hall, Cardiff Bay.
9th Stuart MacRae Earth (world première). BBCSSO conducted by Martyn Brabbins. Candleriggs, Glasgow.
9th Total Immersion: New from the North. A celebration of the best new music from Finland and Denmark. BBCSO and friends. Barbican, London.
14th Unsuk Chin New Work, Joseph Pereira Concerto for Percussion and Orchestra (European première). LA Phil New Music Group conducted by Joseph Pereira. Barbican, London.
16th John Adams European Première The Gospel According to the Other Mary. LA Phil. Barbican, London.
16th-24th Lucerne Festival at Easter. Lucerne, Switzerland.
6th George Benjamin Day. Chamber works by the composer. Various performers. Wigmore Hall, London.
9th LSO Futures Week: Tansy Davies. The music of Tansy Davies features in this Eclectica concert, the first event of LSO Futures Week. LSO. St. Luke’s, London
13th Future’s Week continues in two events that include world premières by Jason Yarde and Colin Matthews. LSO conducted by François-Xavier Roth. Barbican, London.
23rd-30th Mopomoso on Tour. Mopomoso On Tour - 21 years of the best in UK free improvisation
9th-18th Vale of Glamorgan Festival. Includes world premières by Aaron Kernis, Galina Grigorieva, John Metcalf and Mark Bowden. Various venues in Glamorgan, South Wales and Arts Hall, Lampeter.
12th-2/6 Prague Spring International Music Festival.
17th Jonathan Lloyd New Work for Winds (World Première). BBCSO conducted by James Gaffigan. Barbican, London.
22nd In Portrait: Luke Bedford. A concert that includes two premières from the composer. London Sinfonietta. Purcell Room at QEH, London.
Also in May (date not yet available):
Sounds New Contemporary Music Festival, Canterbury.
7th-23rd Aldeburgh Festival. Featuring world premières from six leading international composers: Harrison Birtwistle, Magnus Lindberg, Wolfgang Rihm, Richard Rodney-Bennett, Poul Ruders and Judith Weir. Snape Maltings, Aldeburgh.
20th-27th St Magnus International Festival. Orkney Islands, Scotland. 2013 programme available in March.
27th- 31st/7 Munich Opera Festival. Includes music by contemporary composers. Nationaltheater and other venues in Munich.
30th-13th/7 Soundscape. Festival of new music with composer in residence Dan Visconti. Maccagno, Italian Alps.
Also in June (date not yet available):
Elektrostatic Contempoary Classical Festival. Arnolfini and Colston Hall 2, Bristol.
4th-21st Manchester International Festival. A biennial event. Various venues, Manchester.
5th-21st Buxton Festival. Programme not yet finalised but some details available on their website.
6th-25th/8 Schleswig-Holstein Musik Festival. This year focusing on the music of the Baltic States. Various venues, Schleswig-Holstein, Germany.
12th-7th/9 BBC Proms. Website currently showing 2012 programme, but there will be guaranteed premières aplenty. Royal Albert Hall, London.
15th-27th High Score Festival. Contemporary music festival and classes. Pavia, Italy.
Also in July (dates not yet available):
‘Aix en Provence Festival. Some details already available on the website, including The House Taken Over, a new opera by Casco Mendonça. Full programme available January 24th.
Tête à Tête Opera Festival. Rightly described as ‘our most imaginative opera laboratory’, the festival focuses entirely on new music.
4th-10th Sound and Music Summer School. The Sound and Music Summer School is the only UK residential course of its kind for young composers (aged 14-18). Purcell School of Music.
9th-1st/9 Edinburgh International Festival. The world famous festival’s full programme will be announced in March.
21st-27th Presteigne Festival. Artistic innovation, musical discovery and, of course, new works in the Welsh Marches. Presteigne, Powys.
5th Olso Contemporary Music Festival. Beyond the opening date, few details available on the festival website. Oslo, Norway.
5th-5th/10 Beethovenfest. Programme available in March. Bonn, Germany.
Also in September (date not yet available):
Warsaw International Festival of Contemporary Music. Still showing 2012 programme. Warsaw, Poland.
10th-13th Arcomis International Brass Event. Concerts that contain new music as well as masterclasses, workshops and seminars. Will include sessions led by composers, top brass players and ensembles. Various locations in Cardiff.
Also in October (dates not yet available):
Festival Internacional de Música Contemporánea de Tres Cantos. Contemporary music festival in Madrid, Spain.
Sound. North East Scotland’s Festival of New Music. Various venues.
Wien Modern. Festival that focuses on contemporary music. Still showing 2012 programme. Vienna, Austria.
16th-24th Lucerne Festival at the Piano. A long way ahead, but many details now available on the festival website. Lucerne, Switzerland.
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