An ambitious and expectation-defying programme of Berio, Vasks and Ives. The audience reception was warm and enthusiastic for a breathtaking performance from the Latvian Radio Choir. I normally pen, draft and sometimes even publish a review as soon as I possibly can after the performance. But for the second time in Monte Carlo, I've taken a moment […]
For the next few days I’m in Monte Carlo, blogging, podcasting and tweeting from the classical music festival. I’m attending four concerts – chamber music and orchestral – and will have some time to explore the city I last visited as a kid with my parents 35 years ago.
Mimi Doulton’s 2021/Borough New Music appearance today showcased music performance artworks from the past forty years and the soprano’s considerable vocal dexterity. The all unaccompanied vocal programme was introduced by Mimi as ‘an experiment’. But who was it an experiment for?
Roxanna Panufnik, the Bach Choir, and the Royal Albert Hall (along with a host of others – geddit?) feature in a promo on the Guardian website today brought to my attention by Petroc Trelawny referring to it on Radio 4’s Broadcasting House earlier today.
The story is essentially a puff-piece designed to flag the Christmas Classics concert later this week during which a new carol by Panufnik will be premiered.
There is we learn a resurgence in carol-writing and according to Roxanna, carols are a great way to engage a new audience demonstrating that new classical music can be ‘tuneful’.
“She [Roxanna Panufnik] recognises that many people consider new classical music to be esoteric and difficult, and believes carols are an ideal way to engage them.”
Esoteric and difficult? That might be what some people think about ‘new music’ but that view is based on an assumption held by those people shaped in no small part by lazy writers.
New classical music isn’t something which needs to be made more engaging. It, like the works from history, doesn’t insist on prior knowledge, or expertise. All music needs is for people to listen to it and listen to themselves whilst they do so.
All of the usual conventions and preoccupations with staging live performance had been left outside on Shoreditch High Street. The usual clutter had been cleared away, leaving us able to focus on the art.
That this was by design and not by accident meant I felt I connected with the organisers. Thats a highly-prized audience experience.
This was where live performance was at: innovative; fresh; authentic.