contemporary classical
Anna Clyne
Collaboration fuels a lot of my music – I love the interaction that takes me outside of my natural tendencies – it’s a source of inspiration and an opportunity to see my own music and creative process through a different lens.This past season I had the joy of collaborating with exceptional musicians as I’ve expanded my catalogue of concertos. These have included Glasslands for saxophonist Jess Gillam, Time and Tides for violinist Pekka Kuusisto, ATLAS for pianist Jeremy Denk, and Weathered for clarinetist Martin Fröst – the latter of which is a co-commission between the Concertgebouw Read more ...
Simon Thompson
Two women featured prominently in this programme; the one a composer and the other a conductor.To the composer first. Long before she hit New York big time, Anna Clyne was at Edinburgh University, so there’s a strong link with Scotland that the Scottish orchestras aren’t afraid to exploit. Her 2015 piece This Midnight Hour might have been inspired by two delicate poems, but its mood and tone have the sweep of a film score, and a dashed exciting one at that.The opening is a turbulent eruption from the cellos and basses, leading into jagged shards of music that seem to flicker in the light like Read more ...
Bernard Hughes
It would seem unfitting to report on Nonclassical’s event – happening? – in the Barbican Conservatory on Sunday with anything resembling a conventional review. So instead I shall treat this free-form “experience” to a non-sequential response, in the form of 19 observations: things I saw, heard or noticed.1. Carola Bauckholt’s Doppelbelichtung required Linda Jankowska to produce a range of unlikely sounds from her violin, viz.: creaks, squeaks, whistles, swirls, swoops, wails, whines and rasps. They hung in the air, being broadcast in loops via speakers hidden in suspended violins. 2. Read more ...
Bernard Hughes
I was really looking forward to hearing music from Thomas Adès’s ballet The Dante Project again, after being so excited by it at the Royal Ballet last year. By contrast, I was seriously disappointed by his opera of The Tempest in 2003, and hoped to like it better in a new symphonic version.On both counts I came away from the LPO’s Festival Hall concert last night happy, with the bonus of discovering Sibelius’s incidental music to The Tempest.The programme was very nicely put together: the first half pitting Adès’s take on The Tempest against Sibelius’s, and the second, Adès’s take on Dante Read more ...
Robert Beale
Manchester Collective’s string orchestra programme, opening last night at the Royal Northern College of Music and touring to the South Bank, Leeds and Liverpool, is notable chiefly for the world premiere of will o wisp, by Oliver Leith, a remarkable piece of writing for the medium.The set is titled “Places We Know” and was devised by Pekka Kuusisto, but he had to withdraw from performing because of illness. His place is taken by Rakhi Singh, the Collective’s music director, leading the ensemble.The overall impression, considering that set title and the information given on the music played, Read more ...
Robert Beale
Is Artificial Intelligence pointing the way to musical composition in the future? The BBC Philharmonic, conductor Vimbayi Kaziboni and colleagues at the Royal Northern College of Music made a case for it in this concert.The highlight of the college’s Future Music festival, the programme celebrated the fifth anniversary of PRiSM (the centre for Practice and Research in Science and Music) at the RNCM, and also the supposed centennial of the orchestra itself. It presented two works by Emily Howard, PRiSM’s director: Antisphere (from 2019) and Elliptics, a setting of a poem by Michael Read more ...
David Nice
In its three weeks of world-class events, Muskfest Berlin has managed to be all things to all people – like a mini-Proms distilling the aspects of top international visitors alongside home-grown excellence, and of a focus on at least one relatively unfamiliar 20th century/contemporary work per concert. The Berliners deserved the cornucopia of very special guests, but to justify my visit, I went for the local – Berlin Phiharmonic, Deutsches Symphonie-Orchester and Berlin choirs on a par with very distinguished counterparts from the UK and Georgia.It was disappointing that my third train on the Read more ...
graham.rickson
Berlin Philharmonic Horn player Sarah Willis’s Mozart y Mambo caused a stir in 2020, its mixture of Mozart and traditional Cuban music making it a bestselling crossover disc.Two years on and the second volume has just been released, the sessions held in Havana in January and April this year. As with the first album, a percentage of the proceeds will go towards raising money for new instruments for the Havana Lyceum Orchestra. We discussed the project over Zoom in August.What prompted you to record a second CD?Second albums are notoriously difficult! The mixture of Mozart and mambo proved Read more ...
Christopher Lambton
For the penultimate concert in the Philadelphia Orchestra’s residency at the Edinburgh Festival, the chosen repertoire was evidently considered so obscure that the box office managers didn’t even try to sell any tickets in the Usher Hall’s cavernous upper circle. To shut off nearly half the concert hall for a world class orchestra that has crossed the Atlantic shows either a healthy disregard for the fickleness of audience taste, or a near suicidal disinterest in box office revenue.That, you could say, is what festivals are all about, an approach that might have found some justification in a Read more ...
Tim Cumming
Violinist and composer Ruby Colley combines elements of folk, contemporary classical and jazz with explorations and evocations of the natural world.Her debut release, 2010’s Murmurations, was a minimalist, paired-down evocation of nature and natural forms, and since then, she has written music for films, collaborated on a range of theatre and dance projects, and played with the likes of Sinead O’Connor, The Unthanks and Cosmo Sheldrake.Some of the music from Overheard, her first album in 12 years, stems from collaborations with the arts-and-tech AltPitch festival, and a film of the album’s Read more ...
David Nice
When I first came to Estonia with a then still-exiled Neeme Järvi and his Gothenburg Symphony Orchestra in 1989, the world-class young musicians who dazzled at this year’s Pärnu Music Festival hadn’t been born.A new Estonian musical golden age is now reaping the benefits of a superlative musical education system, but experience also counts: the central force that makes this festival the most welcoming I’ve ever experienced, Paavo Järvi, will be 60 this year; father Neeme, back in Estonia’s lovely summer capital by the Baltic after two years’ enforced absence, and brother Kristjan marked their Read more ...
David Nice
Semi-standing ovation at a lunchtime concert in a London church? Predictable, perhaps, from the first recital I heard George Xiaoyuan Fu give at the Two Moors Festival, an avian programme which made me long to hear him play Messiaen’s complete Catalogue d’oiseaux. Yesterday’s “Chopin Revisited” sequence heightened the sense of originality in planning and confidence in presentation. This is one of the most exciting young pianists of our time, no question.It's often said that Chopin's supreme originality is to be heard in his Mazurkas. Not exclusively so, of course, but Fu's selection certainly Read more ...