Composer Moritz Eggert on his latest release Mass Number Nine VII: Mass, fair criticism, and the danger of neutral reactions.
While exploiting the opportunity for inclusion, representation and legitimisation of the classical music genre is something which are good and necessary aspirations for an event like the Royal Wedding, we should be ever more wary of how easily marketing that aspiration can distort an industry.
Summoning up and deploying that strength was done in an unfussy way. Alessio Bax’s movements were fluid throughout his body, but they were also isolated which meant, from my perspective, that the energy was focussed on the areas of the body that really mattered – hands, fingers and arms.
The combination of seeing and hearing that strength meant I felt safe in the knowledge that this was a solid performer. That doesn’t mean safe and unadventurous, more that the performance felt secure.
It’s taken a long time for Benny and Bjorn’s allegorical tale to make a return as a full-blown production and it is very much appreciated. The timing is good. Characters Freddie and Anatoly might be from a retro age of US vs. Soviets, but the same global preoccupations remain making some moments in the telling of the story a chilling, if not slightly aging experience.
I can’t remember a Young Musician final in recent years that has been quite so engaging. For all the hyperbole about the last one (and there’s been quite enough now), I’d say this is the event which deserves the comparative accolades. Now all eyes will be on the production of Eurovision Young Musician in Edinburgh later this year (a BBC endeavor). If EYM is a carbon copy of BBC Young Musician then the Eurovision competition may just finally regain some of its former glory.