Site Search


Other Resources
News Archive






11 Jan  

Presumably when Matt Hancock, the new UK Culture Secretary, compared the creative industries to a woolly mammoth on Tuesday, he meant ‘big’ and and not muddle-minded. We can only hope he is listening to the concerns of Global Future, who have published evidence that Britain’s creative industries want to retain freedom of movement after Brexit. 

 

It would be easy to accuse the government of woolly thinking on Brexit, but on this subject at least they have been fairly consistent—free movement will end when the UK leaves the EU. It will require, therefore, either a rethink on the part of the government, or for Jeremy Corbyn to whip his MPs to support any Single Market Commons’ rebellion. Neither scenario seems likely.

 

From the Global Future Website:

 

A GLOBAL FUTURE REPORT DECEMBER 2017

Leading figures in Britain’s Creative Industries fear a hard Brexit will damage a sector of the economy that the Government itself estimates is worth more than £87 billion a year.

 

A survey for the Global Future think tank with 50 of the most influential figures in creative Industries is published today.

 

IT REVEALS:

• The single highest priority for government action now is preserving the right for Freedom of Movement between the UK and the European Union. This is seen as more important for securing growth and vibrancy in the future even than government funding for the arts or securing trade and investment.

• The creative leaders were almost unanimous (46 out of 50) in saying a hard Brexit that ended free movement would have either a negative or devastating impact on their industries.

• A similar number of respondents said cultural diversity was one of the chief reasons behind Britain’s creative success on the world stage (42), that there was now a big risk for the UK’s soft power and creative reputation (46) and that morale in their sector had fallen since the European referendum last year (41).

 

GURNEK BAINS, CEO OF GLOBAL FUTURE, SAID:

“Britain’s Creative Industries employ more people than our financial sector and make a hugely important contribution to our economy, as well as driving our soft power in the world. Until now their voice has not be heard properly in the debate about our future.”

“But this survey shows that leaders in this industry regard a hard Brexit, which would severely restrict their ability to hire the talent needed to thrive, now threatens one of the things that makes Britain great.”

 

Respondents included: Sarah Alexander, CEO, National Youth Orchestra; Nick Capaldi, CEO, Arts Council Wales; Mike Pickering, A&R, Sony BMG; Nitin Sawhney, Musician, Producer and Composer; and Alex Beard, CEO, Royal Opera House.





4 Jan  

The Government has released its Creative Industries Report prepared by the Department for Exiting the EU. You can read it here.

 

The opening paragraph makes it clear that this is not a sectoral impact study, so don’t expect ‘excruciating detail.’ It also covers a number of sub-sectors, so music is rather infrequently mentioned. A few interesting statements from it, however:

 

1. Apparently, amongst the creative industries, ‘Music, performing and visual arts have the lowest proportion of EU nationals working in the sector, with 4.1%.'

 

2. ’The Creative Industries exported £14.7bn worth of goods in 2015, 38.6% more than in 2010, and this represented 5.2% of total UK goods exports.’ Of these  ‘“Music, performing and visual arts”, “Crafts”; and, “Publishing”’ were the highest export sub-sectors.

 

3. Whilst total exports to the EU are 39.4 (i.e. 60.6% to the rest of the world), in the realm of all Creative industries the ratio is 45% to the EU, 55% to the rest of the world. This rises to a whopping 56% to the EU in the case of ‘Music, performing and visual arts.’ 

 

The first statistic misses the point, I think—most musicians are coming and going and not settling in the UK i.e. they are still making use of freedom of movement. So this wrongly suggests that Brexit will not have a big impact on the sector. The second points to the relative strength of music, amongst others, as a sub-sector. We should be mindful of this when making our voices heard. That last statistic is perhaps the most troubling; because more than half of the sector’s exports go to the EU, it suggests that musicans may have greater exposure to the consequences of Brexit. 






1 Jan  

After writing the C:T review of 2017, I found myself reflecting on the things that were predicted to happen in 2017 but didn’t. Chief among these was that a wave of populism would engulf Europe, with the possibility that other countries would follow the UK out of the EU. 

 

Though this did not happen, we must be wary of complacency in 2018. In Europe problems persist: Angela Merkel still struggles to form a government and there are challenges in the east. And the UK still has big decisions to make about its future with the EU. If musicians want to preserve a spirit of cooperation with our friends on the continent it is vital we make our voices heard. The UK may be leaving the EU, but the manner of doing so is still up for grabs. 

 

The world is an unstable and difficult place, but despite this the arts scene is as vibrant as ever. My little preview of 2018, below, is ample evidence of this. There are celebrations to mark the hundredth birthday of Leonard Bernstein; major premieres from Philip Sawyers, John Adams, James Macmillan, Philippe Manoury, Nico Muhly, Esa-Pekka Salonen, Mark Simpson, David Matthews and many others; and the usual round of festivals, of which I present a small portion here.

 

I will expand upon this preview in the months to come—do check in for my regular roundups. In the meantime I wish you and all C:T member and visitors a peaceful, happy and musical New Year!

 

January

18th Stephen Pratt, Symphonies of Time and Tide (World Premiere), Royal Liverpool Philharmonic, Philharmonic Hall, Liverpool, UK.

20th Huw Watkins, New Work (World Premiere), Brangwyn Hall, BBCNOW, Swansea, UK.

25th Sebastian Currier, New Work for String Quartet (World Premiere), Lincoln Center, Rose Building, NYC, US.

27th BBCSO Total Immersion, Leonard Bernstein. Barbican, London

 

February

6th–11th Festival Présences with a portrait of composer Thierry Escaich. Paris, France.

8th Symphony Without a Hero (World Premiere), Seattle Symphony Orchestra, Benaroya Hall, Seattle, US.

15th Helen Grime, New Work (World Premiere), Ruby Hughes (Soprano) and Joseph Middleton (Piano), Wigmore Hall, London, UK.

23rd Nico Muhly, Organ Concerto, (World Premiere). Los Angeles Philharmonic Orchestra, Walt Disney Concert Hall, Los Angeles, US.

23rd Composition Wales Culmination concert. Hear the latest in composition in Wales, as composers worthy of wider exposure have the opportunity to hear their works performed by the BBCNOW.

25th Philip Sawyers, Violin Concerto (World Premiere). English Symphony Orchestra, St. Peter’s Square, Hereford, UK.

 

March

2nd–4th Peninsular Arts Contemporary Music Festival 2018. The theme is Decoding Life.

4th André Previn The Fifth Season, for violin and piano (World Premiere). Anne-Sophie Mutter, Lambert Orkis, Carnegie Hall, NYC, US.

10th Gary Kulesha, Double Concerto (World Premiere). Toronto Symphony Orchestra, Roy Thomson Hall, Toronto, Canada. 

21st Judith Weir Piano Quintet (World Premiere). Schubert Ensemble, Wigmore Hall, London.

21st–25th LONDON EAR festival of contemporary music.

29th John Luther Adams, Become Desert (World Premiere). Seattle Symphony Orchestra, Benaroya Hall, US. 

 

April

6th Michael Daugherty Concerto for Orchestra (World Premiere). Virginia Symphony Orchestra, Ferguson Centre, Virginia, US.

11th James MacMillan Saxophone Concerto (World Premiere). Perth Concert Hall, Perth, UK.

13th Esa-Pekka Salonen New Work (World Premiere). Walt Disney Concert Hall, Los Angeles, US.

17th–25h Lucerne Festival at Easter.

19th Helen Grime New Work (World Premiere). 

18th Panufnik Composers Scheme Workshop. LSO St Luke's, London.

21st Mark Simpson Cello Concerto (World Premiere). Bridgewater Hall, Manchester, UK.

 

May

3rd Elvind Buene New Work (World Premiere). Oslo Philharmonic Orchestra, Oslo Concert Hall, Oslo, Norway.

9th David Matthews Symphony No. 9 (World Premiere). English Symphony Orchestra, St. George’s, Bristol, UK.

9th–16th Vale of Glamorgan Festival 

11th–27th Bath International Music Festival.

11th–27th Norfolk and Norwich Festival.

15th–3rd June Prague Spring International Music Festival.

17th–20th Northern Chords Festival.

20th Adam Vidiksis Concerto Grosso (World Premiere). The Chamber Orchestra of Philadelphia, Kimmel Centre, Philadelphia, US.

25th–3rd June St. Davids Cathedral Festival.

 

Also in May (details tbc)

 

The English Music Festival.

 

June

1st Josef Bardanashvili, Ex Animo (World Premiere). Orchestre National de Lyon, L’Auditorium de Lyon, Lyon, France.

5th Charles Wuorinen Eros and Nemesis (World Premiere). The MET Orchestra, Carnegie Hall, NYC, US.

6th–31st Munich Opera Festival Nationaltheater and other venues in Munich.

8th–24th Aldeburgh Festival

12th David Bedford at 80. David Bedford, Symphony No. 1; Robin Rimbaud New Work (World Premiere). BBC Concert Orchestra, Southbank Centre, London, UK.

16th Pascal Dusapin New Work (World Premiere). Château de Versailles: Royal Opera House, Paris, France.

30th–26th August Schleswig-Holstein Music Festival

 

Other June festivals (dates tbc):

 

St Magnus International Festival.

 

July

1st Samuel Carl Adams Concerto Grosso (World Premiere). Australian Chamber Orchestra, Sydney Opera House, Sydney, Australia. 

8th Philippe Manoury Concerto for Flute and Orchestra (World Premiere). Gürzenich Orchestra, Philharmonie, Cologne, Germany. 

8th–21st Soundscape. Maccagno, Italian Alps.

6th–22rd Buxton Festival. A marriage of opera, books and music, including some by contemporary composers. Buxton, Derbyshire.

 

HERE:

 

13th-8th September BBC Proms. Programme not currently available, but there will be premières aplenty. Royal Albert Hall, London.

20th–30st August Salzburg Festival. Salzburg, Austria.

 

Other July festivals (dates tbc):

 

Schlern International Music Festival

Tête à Tête Opera Festival. Described as ‘our most imaginative opera laboratory’, the festival focuses entirely on new music. 

‘Aix en Provence Festival. ‘Aix en Provence, France. 

 

August

3rd–27th Edinburgh International Festival. Programme not yet available, but there is usually a good selection of new music.

6th–18th High Score Festival. Contemporary music festival and classes. Pavia, Italy.

23rd–28th Presteigne Festival. Artistic innovation, musical discovery and, of course, new works in the Welsh Marches. Presteigne, Powys. 

30th Carl Vine Symphony No.8 (World Premiere). Arts Centre Melbourne: Hamer Hall, Melbourne, Australia.

 

September

13th–22nd Oslo Contemporary Music Festival.

21st Richard Mills Island Signal Island Song (World Premiere). Melbourne Symphony Orchestra, Melbourne Town Hall, Melbourne, Australia. 

23rd Ruta Vitkauskaite New Work (World Premiere). COMA London Ensemble, Kings Place: Hall One, London, UK.

30th Lisa Illean New Work (World Premiere). ExplorEnsemble, Kings Place: Hall One, London, UK.

 

Also in September (date tbc):

 

Beethovenfest, Bonn.

 

October

10th  Stephen Goss, Time (World Premiere). Christoph Denoth (guitar), Kings Place: Hall One London, UK.

11th Iain Grandage (World Premiere). Melbourne Symphony Orchestra, Melbourne Recital Centre: Elisabeth Murdoch Hall, Melbourne, Australia.

28th–30th November Wien Modern. Festival that focuses on contemporary music. Vienna, Austria.

 

Dates not yet available:

 

Sound. North East Scotland’s Festival of New Music. Various venues.

 

November

17th–25th Lucerne Festival at the Piano.

 

Dates not yet available:

 

Huddersfield Contemporary Music Festival

 

December

Date not yet available:

 

Spitalfields Winter Festival.





24 Dec  

I’m at last tucked up with my family in a remote part of West Wales, all ready to enjoy Christmas. December’s arranging work finished ahead of time, the fire roaring, a farrago of seasonal fodder.

 

Christmas Eve in the UK comes, of course, with one contemporary music set-piece: the commissioned work for the Festival of Nine Lessons and Carols at King’s College, Cambridge. This year it is composed by fellow Welshman Huw Watkins, who has set part of the Plygain carol Carol Eliseus. The service is broadcast live on Radio 4, beginning at 3pm.

 

In the meantime, here’s one of the best-known of the many previously commissioned Christmas carols, Judith Weir’s Illuminare Jerusalem, composed in 1985 for the service that year. To all C:T members and visitors, I wish you a very happy and peaceful Christmas.

 





21 Dec  

2016 was viewed by many in the music world as one to forget. There were the deaths of Boulez, David Bowie, Peter Maxwell Davies and Prince and the twin political earthquakes of Brexit and the election of Donald Trump. In fact, the prevailing attitude by the end of 2016 was rather summed up by this cartoon:

 

© Nick Seluk theawkwardyeti.com. Used with permission.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

So, as we approach the end of 2017, how did we get on? It’s time to take stock…

 

January started happily enough, with a BBC Total Immersion Day celebrating the birthday of Philip Glass, who turned 80 on 31st. Celebrations to mark this milestone continued throughout 2017. In Hamburg, the opening of the stunning Elbphilharmonie concert hall (below) made London’s foot-drafting over its own new venue all the more bewildering. On 20th Donald Trump was inaugurated President of the United States.

 

The Elbphilharmonie Hall

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

February started with the good news that George Benjamin had been commissioned to write an opera following the enormous success of his Written on Skin, whilst on 8th February C:T marked the birthday of the film music legend, John Williams.

 

On International Women’s Day in March I reflected on the position of women composers in my country—much progress made but still a way to go. Tristan Murail turned 70 on 11th March, whilst I found myself in Japan attending the International Musicological Society conference, where I was lucky to hear a number of interesting speakers, including composer Toshio Hosokawa. At the end of the month Charlotte C. Gill’s article Music education in now only for the white and wealthy caused a huge controversy that rumbled well into April.

 

Jim Aitchison and I penned our own contribution to the debate over the Gill article as a response by pianist Ian Pace had gathered over 500 high-profile supporters, including Sir Simon Rattle. David Bernard over at the Brooklyn Symphony, meanwhile, was giving a much better example of how children might be taught to appreciate music. In everyday life I found myself glued to the Brexit news. One story felt grimly ironic: it was announced that the PRS had won funding from the EU to run its European Keychange programme to empower female musicians. 

 

At the beginning of May Donald Trump’s Muslim ban led to the detention of American composer Mohammed Fairouz at a US airport. Back in the UK the schedule for the BBC Proms had been announced, seemingly with fewer new works than ever.  Simon Rattle’s few eloquent words on Brexit, meanwhile, were widely reported in the British press. In France Emmanuel Macron won a healthy victory against Marine Le Pen—the populist tide seemed to be turning.

 

June saw the momentous events of the UK general election. When the dust settled in the morning, however, not so much seemed to have changed. Theresa May walked back into Downing Street with a speech that indicated that it was ‘business as usual.’ It left me wondering whether we were heading for political gridlock.

 

On 9th July French pioneer of noise music, Pierre Henry, died. He was one of those few composers able to exert an influence outside the field of contemporary art music. C:T talked to the founder of Idagio, Till Janczukowicz, about his new music-streaming app dedicated to classical music. A few days later there was controversy at the Last Night of the Proms, when Daniel Barenboim gave an address that appeared to be inspired by his opposition to Brexit. The reaction of the British press was febrile. By now Brexit seemed to be everywhere, including at the Tête à Tête Opera Festival.

At the beginning of August  Anne Midgette at the Washington Post wrote a piece that seemed to suggest that opera was doomed. I wondered what all the fuss was about. On 18th came the news that Donald Trump’s Committee on the Arts and Humanities had resigned en masse. In a typically Trumpian twist the White House claimed that they were going to disband it anyway.

The beginning of September brought the sad news that two renowned British composers, Derek Bourgeois and John Maxwell Geddes had died. Then East Midlands airport was given a roasting for suggesting that performers work for free. I wondered if it would have been quite so ferocious had they asked the same of composers. At the end of the month I was heartened to hear that an 82-year-old composer had made a sudden career break-though. It’s never too late…

 

On 2nd October we lost Swiss composer, Klaus Huber and then there was more Brexit gloom in October, with the announcement that the European Union Youth Orchestra was moving out of London. The shortlist for the British Composer Awards was announced at the end of the month. I was delighted when one of the judges invited me to the award ceremony in December. It felt like I was off to the Oscars.

 

We lost several fine musicians in November: the composers Jean-Jacques Werner and Ladislav Kubík and then the baritone Dmitry Hvorostovsky. Ghastly news also for the composer Philippe Manoury, who had 40 pages of drafts for a new string quartet stolen on a train between Strasbourg and Mannheim. Nico Muhly’s new opera opened in London on 18th, to mixed reviews.

 

After enjoying part of a Stockhausen weekend in Ghent I headed to London for the British Composer Awards on 6th. It was quite something to witness such an array of composing talent in one room. December also saw Theresa May finally able to move the Brexit negotiations onto phase two. Given the difficulty she has encountered so far, I think we can expect 2018 to be a rocky ride.





14 Dec  

'The Silver Stars at Play' from Primae Facie Records features 23 world premiere carol recordings. At over 70 minutes it is a generous programme, with a cross-section of both significant and lesser-known mostly British composers. These include the likes of John McCabe, Peter Maxwell Davies, Sadie Harrison and Cheryl Frances-Hoad. Each work is about two to six minutes long. Most are performed without accompaniment. 

 

Writing Christmas music can, of course, be a tricky proposition for a contemporary composer—it’s not exactly a season that encourages innovation or self-expression. Happily the majority of the pieces retain a sense of individuality, regardless of the Christmas brief.

 

Several stand out, not all of them the big names. Paul Ayres’ Hodie Christus natus est provides an arresting and contrapuntally vigorous opening to the programme. It builds to a very satisfying climax. Cheryl Frances-Hoad’s This Time is Born a Child is an essay in how to do quiet simplicity, with enough harmonic individuality to avoid being a medieval pastiche. Andrew Cusworth’s Of a rose synge we has a ravishing Tavener-like simplicity that nevertheless takes some unexpected harmonic turns. Phillip Cooke’s Susanni has a ritualistic feel that builds convincingly on its dialogue between solo voices and choir. Perhaps my favourite was Sadie Harrison’s As-salāmu ‘alaykum Bethlehem, a riot of sound that bows least to the saccharine tendencies of the season. Even whilst pushing the harmonic envelope the result feels like a great shout of joy.

 

The recorded sound on the recording is excellent, the choral textures easy to separate even whilst the acoustic of St. Ann’s Church, Manchester gives a satisfying bloom to the whole. Those expecting polite and colourless performances of the sort one might expect to hear on Christmas Eve from King’s will be disappointed; the singing is full-blooded and pretty fruity at times. There are some problems here and there with blend and intonation. These are not deal-breakers, however, especially as the choir also comes with real strengths, not least its thrilling power at climaxes. Props too to director Elspeth Slorach for guiding the choir through so many diverse works with such evident stylistic understanding.

 

Good collections of contemporary Christmas music are surprisingly hard to come by, so 'The Silver Stars at Play' is a welcome addition to the discography. If you’re looking for the perfect contemporary music stocking-filler, here it is.





7 Dec  

I was lucky enough to attend the British Composer Awards last night, held at the British Museum, London.

 

The ceremony was presented by Andrew McGregor and Sara Mohr-Pietsch of Radio Three and there were performances of selected pieces from Jeremy Dale Roberts’ Croquis by members of the Kreutzer Quartet. You can see the complete list of nominees in a previous post, here.

 

The winners were as follows:

 

Amateur or Young Performers

Who We Are by Kerry Andrew

 

Chamber Ensemble

Skin by Rebecca Saunders

 

Choral

Proclamation of the Republic by Andrew Hamilton

 

Community or Educational Project

Anything but Bland by Brian Irvine

 

Contemporary Jazz Composition

Muted Lines by Cevanne Horrocks-Hopayian

 

Orchestral

Torus (Concerto for Orchestra) by Emily Howard

 

Small Chamber 

In Feyre Foreste by Robin Haigh

 

Solo or Duo

Inside Colour by Deborah Pritchard

 

Sonic Art

Luminous Birds by Kathy Hinde

 

Stage Works

4.48 Psychosis by Philip Venables

 

Wind Band or Brass Band

In Ictu Oculi by Kenneth Hesketh

 

There were also two special awards (without shortlists):

 

British Composer Award for Innovation

Shiva Feshareki

 

British Composer Award for Inspiration

Nigel Osborne

 

The ceremony was followed by some rather tasty bowl food, copious amounts of wine and very entertaining chatter from a room that was stuffed full of the UK’s finest composing talent. Here are a few pictures from the evening.

 

The composers gather:

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Andrew McGregor and Sara Mohr-Pietsch begin the presentations:

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Kerry Andrew (left), winner of the children’s choir category:

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Shiva Feshareki (centre), British Composer Award for Innovation:

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 





3 Dec  

A few thoughts from the first night of a Stockhausen weekend held at De Bijloke in Ghent, which I had the pleasure of attending on Friday.

 

We were presented with one of Stockhausen’s most celebrated early electronic works, Kontakte (1958–60), in the version that includes piano and percussion and his last electronic work, Cosmic Pulses (2006–7). In between the Ictus Ensemble performed an improvisatory electronic work, Electronic Concert Piece, which drew heavily on Stockhausen as a source of inspiration. 

 

I sat near the centrally placed mixing desk in both Stockhausen works, feeling that that would probably yield the best balanced sound. It was mostly a good decision, even if the full quadraphonic effect—there were speakers behind us— seemed only to make itself felt well into the first piece, Kontakte. Once it did, it was spellbinding. Pianist Jean-Luc Plouvier and percussionist Miguel Bernat were both superb, playing with a super-abundance of energy and, as far as one could tell in such a layered and complex work, precision. 

 

Electronic Concert Piece, which used scraps of material from both Kontakte and Microphonie I as well as a selection of electronic equipment with which Stockhausen would have been familiar, was a rather playful homage that seemed to pose more questions than it answered. One was never quite sure what was prepared and what was improvised and at times I wasn’t even sure whether I was hearing live electronic manipulation or prerecorded samples, a fact that was made concrete when the players stopped and let Stockhausen have the last word in a recorded extract from Kontakte.

 

The final work, Cosmic Pulses, is an 8 speaker electronic work. It was played in complete darkness, apart from the eerie glow of the mixing desk. I was completely unprepared for its arresting cauldron of counterpoint, which over its half-hour stretch barely lets up. Whilst the barrage of sound became, perhaps, a little exhausting, the texture was so bristling with life and subtle change that I was easily held spellbound. To me it also spoke of the sheer compositional energy of Stockahusen—although written in his late 70s it bristles with youthful exuberance.

 

The mixing desk for Cosmic Pulses, before the lights went out:

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The two-day homage to the Stockhausen also had an exhibition of the types equipment used by the composer. Here are a few pics: 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 





26 Nov  

On Nimbus Kol Nidrei: Elegy for Pamela contains string quartets commissioned to celebrate the life of chamber music educator Pamela Majaro. It opens with the Cavatina from Beethoven’s String Quartet No. 13 and is followed by works from Cheryl Frances-Hoad, Mika Haasler, Cecilia McDowall, Roxanna Panufnik, Freya Waley-Cohen, David Knotts and William Zinn. The composers were chosen by the Majaro’s husband, a fact one can sense from the similarity of musical language within the commissioned pieces. This is not at all to criticise; the works are exquisitely well made, their tonal language entirely appropriate for the elegiac nature of the brief. 

 

Also on Nimbus, pianist Andrew Matthews-Owen releases Halo, his first disk of contemporary music written for his instrument. Three composers are represented: Joseph Phibbs, Dobrinka Tabakova and Hannah Kendall.  There is a bit more range of style on offer here, from the nocturnally muscular writing in Kendall’s On the Chequer’d Field Array to Dobrika Tabakova’s colourful  Modétudes, which effectively explore the harmonic/melodic possibilities of the old church modes.

 

Wergo seems to have had an unusually fruitful month of releases, with 7 new albums on offer. These are Mimetics, a collection of piano works by Mauricio Kagel; organ music by Toshio Hosokawa and John Cage; a collection of songs by Wilhelm Killmayer; three works for various large instrumental/vocal groups by Hans Zender; another album including music by Cage, this time his Chess Pieces and Four Dances paired with Tom Johnson’s Rational Melodies; a collection of works by Georg Friedrich Haas, Evan Johnson and Jani Christou that ‘deal with emotional or audible silence’; and a new portrait CD of American-Norwegian composer Evan Gardner.

 

Naxos have released recordings of Terry Riley’s The Palmian Chord Ryddle for electric violin and orchestra and At the Royal Majestic for organ and orchestra; songs by Daron Hagen; and Timothy Hamilton’s Requiem, which was commissioned in 2012 to mark the centenary of the First World War. Not contemporary, but also worth checking out is their world premiere recording of Shostakovich’s original score from the 1955 film The Gadfly, as reconstructed by conductor Mark Fitz-Gerald. 

 

A few other random choices that might interest: back on Nimbus is a generous programme of eight works by Augusta Read Thomas, ranging from small scale chamber music to Ritual Incantations, a work for cello and orchestra; NMC have released a collection works by three young composers—Lisa Illean, Gareth Moorcraft and Donghoon Shin—that participated in the Philharmonia Composers' Academy (see video below); and, perhaps most sonorously, is Divine Art Records’ new recording of Andreas Willscher’s Organ Symphonies 19 & 20

 





23 Nov  

 

   Photo: Pavel Antonov

Sad news, with the death yesterday of the great Russian baritone Dmitri Hvorostovsky. 

 

Whilst not a great exponent of contemporary music, he was known for his collaboration with Russian composer Georgy Sviridov (1916—1998). Sviridov was very much a composer of the Soviet era, a student of Shostakovich and well used to writing music that fulfilled the requirements of Socialist Realism. He wrote two song-cycles for the Hvorostovsky, St. Petersburg and Russia Cast Adrift, both recorded (follow the links). Hvorostovsky himself described the music as ‘quite simple and, unlike most contemporary vocal music, it has beautiful melodies, written to the most wonderful poetry.’ 

 

In another interview the singer described performing a great deal of contemporary music when a member of the Krasnoyarsk Theatre as a very young man: ‘I wouldn’t give you examples, but I do love contemporary music.  When I was much younger, I used to do it a lot when I was a member of Krasnoyarsk Theater, when I lived in Krasnoyarsk, my home town.  I was doing a lot of contemporary music written by our young composers.  It was almost all twelve-tone music, which was very difficult.’ It would be good to know more about this part of his career. He also said in the interview that he would consider returning to contemporary repertoire. Who knows what we might have had had he been granted a little longer.







Archive
 1  | ... |  7  |  8  |  9  |  10  |  11  | ... |  53  |