David H Spence
Usually when faced with a program that features a divertimento or serenade of sorts, then a set of madrigals, the idea is one almost purely of light discourse. Well, think again. The discourse in both pieces on this program is broken up such that the whole concept gets completely redefined. Susanna Malkki’s highly auspicious debut prom was truly of the cerebral variety, especially were it not for the vitality that went into the Birtwistle that ended it.Boulez’s Derive 2 sounded loosely to be in three movements, in its 45-minute span, in presumably its completed form. The question that came to mind, on first hearing this piece was, was this the same enfant terrible who shook up the radical fifties, with his treatise, ‘Schoenberg ist tot?’ Well, just almost ‘tell me it is not so’, but the unabashedly diatonic uses of his row at times was a little eyebrow raising a few times; the baroque dance rhythms and even a little inculcation of mellow, dry humor was refreshing, but all somewhat recalling the Schoenberg of Third Quartet and Opus 31 Variations. You though have a fine, very tightly organized composition, highly sophisticated in its manipulation of time and that sends a constant current of activity, either through repeated notes or much scurrying accompaniment through even most seemingly still passages. Use of tropes (in form of melisma of six or seven notes), some of which vaguely recalls the hemiola technique of extending the beat over the bar line in Brahms, to highly expressive passages, was always very effective. Work for solo instruments or duet could a few times spin out at length most intimately, especially in the slow middle section of this piece. The third movement sublimely, and quite Bergian, synthesized all elements that had preceded it, and thus favored this music in making it seem a little less diffuse. A little more edge to very supple, confident work by Malkki and her forces may have brought what may be ‘light in august’ for by now a more quietly radical composer of our time to us a little less recessively. Mastery of color, whether in delicate harmonies or light percussion effects mixed with winds, etc., was complete.Extended melisma writing found its way in entirely different context into the Birtwistle, and equally vocal in effect here, whether from winds or voices. All the text Birtwistle needed was there, but on purpose, was not able to be clearly heard, and to the intended effect that work for eight winds should be equally indicative of text wordlessly of course being set to music, and contrariwise, though hardly in any concrete way, the singing to portray in effect natural processes. The deep color of cimbalom and of often seemingly menacing chant gives this piece quite a kick at times, not to mention the expressive and range extremes to which Birtwistle sometimes scores especially woodwinds. Start and end of all madrigal fragments often got completely blurred, overlapped, but the drama all the same was clearly felt, and thanks to the cultivation, courage, and indefatigable vitality of all forces involved. A great prom.David H Spence

Scott Cooper
I thought the atmosphere of Boulez's Derive 2 was fantastic but I am afraid I did not click with the Birtwistle piece this time around. It did not seem to have any meaning to it or order. I have liked other Birtwistle pieces in the past though so it must just be a one off that I didn't like. I look forward to being in the hall for Panic in two weeks time!

Harry
Pierre Boulez Derive 2 and Sir Harrison Birtwistle Nuruda Madrigales were superb. At the beginning it was busy and although it was a hard piece to understand, it realy created atmosphere. It was lively and dramatic throughout the piece. I found the piece enjoyable to listen to and I was surprised at what an amazing sound could be made by 11 players.

Christopher Blandford
Harrison Birtwistle’s Neruda Madrigales were simply stunning. I sat down to listen to the whole piece of music in my headphones, and was drawn out of the world into something fantastic. I can only describe the experience as this sense of a misty magical daybreak, where just occasionally, a bird would sing out through the clouded scene. I was not as keen on Boulez’s Derive 2, but I found that the Neruda Madrigales paid off immensely if I persisted with it. I may not have understood the true meaning of the piece, but it was still a wonderful mystical evening that I enjoyed completely!

Jake and Lesley
Fabulous concert!

Christopher Blandford
Harrison Birtwistle’s Neruda Madrigales were simply stunning. I sat down to listen to the whole piece of music in my headphones, and was drawn out of the world into something fantastic. I can only describe the experience as this sense of a misty magical daybreak, where just occasionally, a bird would sing out through the clouded scene. I was not as keen on Boulez’s Derive 2, but I found that the Neruda Madrigales paid off immensely if I persisted with it. I may not have understood the true meaning of the piece, but it was still a wonderful mystical event that I enjoyed completely!