Classical Features
'An invitation to stillness and reflection': saxophonist and composer Christian Forshaw on collaborating with top choir TenebraeSaturday, 30 April 2022
The idea of recording an album with Tenebrae has been bubbling away for a number of years. Nigel Short and I first worked together in 2007 when I asked him to direct the vocal consort for a UK tour I was doing with my own group. Since then we have worked together on a number of projects and regularly discussed the idea of a collaboration with Tenebrae. Read more... |
First Person: composer Michael Price on responding to Bach's Second Brandenburg ConcertoFriday, 22 April 2022
There are lots of ways that we respond to great works of art – intellectually and emotionally, then visually, aurally and even by taste and smell, depending on the art in question. I have a habit of screwing my eyes tight shut and bringing to mind a piece of favourite music, or book, or person, and it seems a glowing imprint forms behind your eyelids. You could try it now! Read more... |
First Person: composer Mason Bates on the powers and perils of musical storytellingMonday, 28 March 2022
What do Beethoven and Pink Floyd have in common? Narrative – ingeniously animated by music. From the Ninth Symphony to The Wall, narrative music has brought a new dimension to the forms and genres it has touched. Read more... |
Russians and friends play on for UkraineWednesday, 16 March 2022
National sensitivities are running understandably high right now in the thick of an ever-escalating aggression. What a shame that the Southbank Centre has excluded Russian artists from performing alongside British and Ukrainian performers to bring a message of peace through the arts in their upcoming fundraiser. Not so "Dance for Ukraine" at the London Coliseum, including Natalia Osipova in its line-up. Read more... |
‘Slava Ukraini!’: Russian musicians worldwide show solidarityFriday, 04 March 2022
“You are told that we hate Russian culture,” President Zelenskyy of Ukraine informed Russians, using their language, in a speech for the ages just before the invasion, “But how can a culture be hated? Any culture? Neighbours are always enriching each other culturally. But that does not make them one entity, and does not separate people into ‘us’ and ‘them’ “. Read more... |
‘Let me be your main course’: composer Jimmy López on why new music needs time and spaceTuesday, 22 February 2022
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. Read more... |
First Person: Pavel Šporcl on Paganini and the Czech violin traditionSaturday, 29 January 2022
It is taken for granted today that Paganini is almost a God-like figure for violinists. After all, he epitomises the ultimate virtuoso figure, both as someone whose technique outshone (so we are told!) every other player of his time, and who oozed charisma. Read more... |
First Person: young composer Nicola Perikhanyan on a new immersive reality experience at London WallWednesday, 22 December 2021
There's something really moving about standing in the centre of London Wall's Roman ruins and looking up at the city that has grown around it. Thinking about our past, present and future simultaneously. More than 2000 years have passed since the Romans created our city, and while much has changed there's still so much consistency in how our society exists, both the beauty and the flaws. Read more... |
First Person: composer Cheryl Frances-Hoad on a musical love letter to the natural worldWednesday, 24 November 2021
In the darkness my dreams are interrupted I see the blackbird in my mind and the whirring of my brain begins Read more... |
First Person: composer Conor Mitchell on challenging religious orthodoxy from a queer perspective in MASSWednesday, 17 November 2021
A mass, in its simplest form, is the order of prayers that are said in a religious service. It is standardised and has been for centuries, in order to create a theatrical journey that takes us through a service. Composers have always been drawn to the mass as a structure because it has an inherent drama. It draws on themes of rebirth, change, redemption. Read more... |
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