composers
Jimmy López
No, not your aperitif – and certainly not your digestif; your bona fide main dish, the one your audience yearns for, dresses up for, and looks forward to.It’s 2022; time for arts leaders to show the way into the future and to not underestimate the public’s thirst for what is new. Stop living in the past. You have heard that phrase before. Composers have been uttering it for over a century, ever since some mysterious force made time freeze around the premiere of Turandot. The exact date is irrelevant; what matters is that most opera companies worldwide rely on their warhorses (while relegating Read more ...
Barney Harsent
A Life in the Day is the second album from Bed Wetter, nom de plume of DJ, producer and experimental artist Geoff Kirkwood. Perhaps best known for his dancefloor-centred productions under the Man Power moniker, Kirkwood’s thoughtful and committed approach to his art has often seen him venture into uncomfortable territory and work within self-imposed boundaries – from a spell as Artist in Residence for the Sage Opera House and Concert Venue to his music subscription service that promised fans an EP a month for the duration of 2021.During the UK’s second big lockdown, roughly a year ago, the Read more ...
Bernard Hughes
For many years, first as a punter then latterly as a reviewer, I have sat in the section of the Royal Albert Hall stalls near stage right, under the BBC Radio broadcast box, knowing that that is where they sit the composers being premiered at the Proms. This means, among other things, that you have to be discreet in voicing opinions about new pieces, and to avoid staring too pointedly.This week I will find the boot on the other foot as I make an appearance at the Proms as a composer, my new piece Birdchant featuring in the BBC Singers’ concert on 19 August. It is, needless to say, a lifetime Read more ...
Bernard Hughes
The Royal Northern Sinfonia handed its players artistic control of the programme for this livestream from the Sage, Gateshead and if the result lacked coherence it certainly had the variety and diversity missing from the Wigmore Hall Nash Ensemble recital I reviewed last month. Centred around Piazzolla’s popular Estaciones Porteñas, in the composer’s centenary year, it also featured music by Germaine Tailleferre, Daniel Kidane, Dobrinka Tabakova and – incongruously – Haydn. But if the latter’s Sinfonia Concertante felt like an interloper from another programme, a breezy and generous-spirited Read more ...
Tunde Jegede
In this era when there is so much talk and discussion around crossing musical boundaries, diversity in music and inter-disciplinary work it seems strange that there is still so little knowledge of how, why and when it works. Ironically, much of this type of work and collaborative process is much older than we often think and give credit to.As a composer I have always been interested in this type of work because it speaks to my experience both socially and culturally. Having studied instruments and traditions in both the UK and West Africa, I was acutely aware from an early age of differences Read more ...
Robert Beale
Manchester Camerata’s performance with Jess Gillam at Chetham’s School of Music was filmed in private on 9 January (and the sound was broadcast on BBC Radio 3 on the 19th), but to see it in its full visual glory we had to wait until a one-off streaming on Friday. No harm in that: good things are worth the wait, and it was all well filmed (credit to Apple and Biscuit Recordings) and very well presented by Linton Stephens. His interviews with the Camerata’s new leader Caroline Pether and principal cello Hannah Roberts, and later with Jess Gillam and Pekka Kuusisto, were intelligently presented Read more ...
Sebastian Scotney
This year of all years – surely – we need music which takes us to better, happier places. And the new album from Norwegian-born saxophonist/composer Marius Neset does that. It also gives us a bit more hindsight and context as to what his two previous albums involving large ensembles were all about. One can now see more clearly that the 500+ pages of dense orchestral scoring that he painstakingly wrote for his quintet and the London Sinfonietta in Snowmelt and Viaduct were his ‘années de galère’ as a composer.Tributes (ACT) is not simple music by any means, and yet there is a complete sense of Read more ...
graham.rickson
Osvaldo Golijov: Falling Out of Time Silkroad Ensemble (In a Circle Records)Along with many others, I was beguiled by DG’s recording of Osvaldo Golijov's Pasión Según San Marcos a decade ago, an exuberant Latin American take on Bach. After which Golijov slipped under the radar. There’s an illuminating article on The New York Times website where the composer explains the reasons for his disappearance, revealing that while he never actually stopped composing, “the ideas felt half-baked.” Falling Out of Time marks a brilliant return to form, this substantial song cycle based on David Read more ...
Daniel Lewis
Among the French composer Claude Debussy’s greatest and characteristically subtle innovations was to put the titles at the end of his pieces. He did this in his piano collection Preludes: the titles, trailed by ellipses and clothed in brackets, appear more like suggestions than statements. Completing the collection a few years before his death in 1918, with it Debussy seemed to fulfil his mission of edging the cerebral late 19th century musical language towards the more sensuous zone of timbre, texture and colour. The player (Debussy’s ideal listener) is made to handle these Read more ...
Joseph Walsh
If there was ever a balm for these confusing times, then it’s Max Richter’s Sleep, a lullaby of a documentary that explores the composer’s eight-hour-plus experimental 2015 composition based on sleep cycles. Richter is a remarkable musician and, alongside his experimental albums, has also been responsible for some of the most moving film scores of recent years, such as Dennis Villeneuve’s Arrival and James Gray’s Ad Astra. Yet Richter is far from a jobbing composer: his work is always imbued with a deeper meaning, and his passion is infectious.Five Read more ...
Gavin Dixon
No composer since Stravinsky has defined his age as comprehensively as Krzysztof Penderecki, who died on Sunday aged 86. Initially an uncompromising modernist, Penderecki was one of the composers who put Poland at the forefront of the musical avant-garde in the late 1950s. His music later changed, eventually moving to an unashamedly expressive neo-Romantic style in the 1980s. At a time when modernism was declining in some quarters, but defended elsewhere, the reactions to Penderecki’s move cast those divisions into sharp relief. But the grand and increasingly civic style of his music in later Read more ...
Jenny Gilbert
The following is adapted from a programme note for a show which was to have premiered last Thursday – the very day Sadler's Wells went dark. Nico Muhly – Drawn Lines was part of an occasional series featuring composers who are making an impact on dance. All the music cited is accessible on the usual platforms.Nico Muhly hates labels. Looking very much younger than his 38 years, he has had to suffer being “classical music’s poster boy” for nigh on two decades, not to mention hearing his music described as “indie-classical”. As he has pointed out through gritted teeth to many an unwary Read more ...