Here’s a preview of the debuts of some new current-classical British pieces, all surfacing in June.
In the middle of the month, Birmingham Contemporary Music Group will be presenting the most recent fruits of their crowdfunded Sound Investment scheme (aimed to encourage enthusiasts to “get closer to the creation of new music… and support some of the world’s leading living composers,” – if you’re interested in joining in, check out the investment page here). Previously – at the start of the month – outlier composer and onetime new-classical rebel Keith Burstein will present his new cello concerto in one of London’s excellent but out-of-the-way music churches (situated as it is up near the Hoover Building, on the city’s north-west escape route and one which, as it happens, points the way to Birmingham).
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Music at St Mary’s Perivale presents:
The Lipatti Piano Quartet + Corinne Morris/Keith Burstein/Viv McLean
St Mary’s Perivale, Perivale Lane, Perivale, London, UB6 8SS, England
Wednesday 1st June 2016, 7.30 pm – free event (with retiring collection) – more information
Keith Burstein : ‘Wiosna’ (sonata for cello & piano) (world premiere)
Franz Schubert : Sonata in A minor D821 ‘Arpeggione’ (for cello & piano)
Franz Schubert – Adagio and Rondo Concertante D487 (for piano, violin, viola & cello)
Antonín Dvořàk – Piano Quartet in E flat Op. 87 (for piano, violin, viola & cello)
The Lipatti Piano Quartet
Corinne Morris (cello)
Keith Burstein (piano)
Viv McLean (piano)
During his 1990s emergence as a composer, Keith Burstein warred publically, bitterly and theatrically with a stern post-serial/post-Boulez British classical music establishment over his own fervent, frequently-politicized championing of “the rehabilitation of melody to the heart of music, and of tonal harmony, which enables the expressive power of dissonance.“ At the time, he was sidelined and ostracised. Now, with a multitude of British composers happily handling melodic expressiveness in parallel with modernist complexities, those battles seem to belong to a harsher, more rigid era: one concerned more with conflicts of manners, of theory and of hierarchy than with actual musicality. Perhaps in consequence, the image of Burstein-the-heretic may gradually be giving way to that of Burstein-the-unfortunate-herald, but in the meantime Keith has continued to work his own continuing tonalist seam (regardless of scorn or praise) through oratorios and political/metaphysical opera, choral and chamber pieces, and song cycles.In recent years Keith has applied his limpid, deceptively intricate compositional approach to works and situations relating to his own Eastern European and Baltic Jewish heritage (an Ashkenazy-approved symphony premiered by the Kaunas City Symphony; a string trio inspired by a Lithuanian odyssey). His latest work, the cello sonata ‘Wiosna’ , is named for the Polish word for “spring” – which he finds “much more beautiful than our stark monosyllable” – and its three movements are named after the three months of that season, Marzac (March), Kwiecien (April) and Maj (May). ‘Wiosna’ was written for Corinne Morris (the ex-Opera National de Paris cellist turned acclaimed soloist, who’s currently following up her 2013 debut album ‘Macedonian Sessions’ with a new one with the Scottish Chamber Orchestra, due in 2017). She’ll be performing the piece with Keith himself as piano accompanist.
Filling out the bill will be three familiar Romantic staples. Schubert’s ‘Arpeggione’ Sonata (originally written for a pairing of piano and the bowed, long-since fallen-from-favour arpeggione guitar) will be performed in its more usual cello-and-piano arrangement, with Corrine Morris accompanied this time by award-winning young pianist and frequent St Mary’s performer Viv McLean. The Lipatti Piano Quartet – Gamal Khamis (piano), Amy Tress (violin), Felicity Matthews (viola) and Auriol Evans (cello) – will be completing the evening, performing two further key Romantic chamber works: Schubert’s ‘Adagio and Rondo Concertante’ and Dvořàk’s ‘Piano Quartet in E flat’.
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Judith Weir: Blue-Green Hill
Luke Bedford: In Black Bright Ink (world premiere)
Richard Baker: new work (world premiere)
Howard Skempton: Field Notes
John Woolrich: Swan Song (world premiere)
Zoë Martlew: Broad St. Burlesque (world premiere)
For this one, I’ll just quote BCMG’s press release, as follows:
“Birmingham Contemporary Music Group has increasingly explored the contemporary chamber repertoire in recent seasons, and we extend that journey with no less than four new works from composers with strong BCMG connections. It was our Artist-in-Association John Woolrich who originally encouraged BCMG to commission smaller-scale pieces, and as a composer of such deft chamber works as In the Mirrors of Asleep, which we have performed many times, asking John to write one of these was an obvious choice (BCMG’s, not his!).
“Zoë Martlew is primarily known as a performer, playing cello with BCMG on a number of occasions. She is also a talented emerging composer, and this seems the ideal time for her first BCMG commission. Luke Bedford returned to the UK last year from a period in Berlin – an experience that has influenced his music in subtly interesting ways. Richard Baker’s output includes a string of miniature works, finely crafted and always a delight for the ear. His new commission will be a more extended chamber piece featuring oboist/fellow composer Melinda Maxwell.
“Completing the programme are Judith Weir’s ‘Blue-Green Hill’ (an elaboration of a folk-inspired miniature first written for BCMG’s tour of India in 2002), and a revival of Howard Skempton’s ‘Field Notes’ (a hit of our 2014/15 season).
“There will be a free pre-concert talk open to all ticket holders from 6.30-7pm with Stephen Newbould (Artistic Director of BCMG), Richard Baker, Zoë Martlew, Luke Bedford and John Woolrich.“