During October, we focus on the here and now, with contemporary music and dance featured in a number of articles. We have spoken to a number of composers and choreographers about their work accross various mediums, and their collaborations with other contemporary artists.
Sadler's Wells presents See the Music, Hear the Dance, an evening dedicated to the music of Thomas Adès, who will himself conduct the Britten Sinfonia through works by Karole Armitage, Wayne McGregor (revivals), Crystal Pite and Alexander Whitley (world premières).
As part of our Contemporary focus, I spoke to Swedish filmmaker, choreographer and dancer Pontus Lidberg, about his musical choices and his collaborations with contemporary composers. An intimate conversation with a leading voice in contemporary dance.
Jasmin Vardimon talks to Bachtrack's Dance Editor about her new production of PARK, which tours the UK this Autumn. She also opens up about her vsion for dance, the power of performance, and the exciting developments of her new home in Ashford
Ben Shephard’s A War of Nerves provide the inspiration behind Sally Beamish’s new choral work Equal Voices which receives its première on Sunday 2 November; his words feature heavily in Sir Andrew Motion’s “found poem”, recounting the horrors of the Great War, which Beamish has juxtaposed with passages from the Old Testament’s Song of Songs
new music in new places
“Singers wound their way through the frozen food aisle, followed by musicians trying not to let their instruments topple over any produce.” The performance raised many questions pertaining to place and how composers and performers incorporate the idea of space or venue into their work.
In the first of a four-part series, Peter Reynolds looks at different strands in contemporary music with a focus on composers in the immediate here and now. This week he writes about five composers now in their 30s and 40s, all writing very different kinds of music.
As part of Bachtrack’s Contemporary Music Month, Rebecca Lentjes writes about the vibrant world of sound installations and immmersive musical experiences in New York City.
Part of Bachtrack’s Contemporary Music Month, Paul Kilbey takes a look at concert programming of 20th- and 21st-century music in several venues around the world.
As part of Bachtrack’s Contemporary Music Month, Meg Wilhoite takes a look at the question of gender equality in the world of new music, in light of the recent debate sparked by conductor Vasily Petrenko.
Upcoming eventsSee more...
Flagello, Piazzolla, Bach C.P.E., Fedele, Parish Alvars, Walter-Kühne
Agne Keblyte, Harp
Dorman, Prokofiev, Schumann
Boston Symphony Orchestra; Asher Fisch; Julian Rachlin
Vasks, Nielsen, Bruckner
Bamberg Symphony Orchestra; Jaap van Zweden; Daniela Koch
Britten, Rachmaninov, Pärt
Orchestra of Teatro di San Carlo; Jeffrey Tate; Giuseppe Albanese
Parry, Panufnik, MacMillan
Jeffrey Skidmore; Ex Cathedra Choir; Ex Cathedra Baroque Ensemble
Mantovani, Grieg, Strauss R.
Netherlands Radio Philharmonic; François-Xavier Roth; Alexander Gavrylyuk
Latest reviewsSee more...
Magnus Lindberg's first work for solo voice proves an important new contribution to the genre, while Debussy, Wagner and Scriabin lack magic.
Simon Trpčeski gives us precision and delicacy in a magical Ravel Piano Concerto in G major; fine singing from Karen Cargill can't prevent Ticciati's Mahler 4 from falling flat.
James MacMillan has honed his first opera Inés de Castro into an unmissable evening: unspeakably gory but utterly thrilling.
Where lies the boundary between musical performance and performance art? With more and more musicians choosing to incorporate digital or multimedia elements into their performances, concerts are increasingly defying easy categorisation.
The four-part concert, conducted by Franz Welser-Möst, emphasized Boulez's relationship with the orchestra as composer, teacher, conductor, and friend, with four musical works to illustrate those characteristics.
A superb lunch time concert by the Britten Sinfonia players which included outstanding performances of works by Debussy, Fauré and a newly commissioned work titled "Light and Matter” by the Finnish composer Kaija Saariaho.
Shchedrin’s opera The Enchanted Wanderer is the complete opposite of shocking and director Alexei Stepanyuk’s staging alongside Valery Gergiev’s command over the Mariinsky Theatre Orchestra revealed something of a translucid daydream.