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Second City Firsts - International Double Reed Society 1 - World Premieres at Birmingham issioned by IDRS2009 and dedicated to the great operas in the seamless eloquence of the Town Hall oboist Nicholas Daniel, who delivered the sheer solo line, and which, for all we describe this late aching beauty of these five contrasting move- work as “autumnal”, in fact skirted with spring- mong the many impressive statistics ments, not a note wasted, with the agile accomp- like freshness. A arising out of the International Double Reed Society 2009 conference held at Birming- animent of Malcolm Wilson at the piano. Pascal Gallois was the awe-inspiring soloist in Berio’s Sequenza XII for solo bassoon, a freak- ham Conservatoire (the first time in the UK for 2 – CBSO at Symphony Hall & Queen’s show of technique and feats of memory which 20 years), with its 1,000-plus attendees, is the Park Sinfonia at Adrian Boult Hall cannot help but sound like a bumblebee fact that no fewer than 41 world premieres were trapped in a jam-jar. performed during a week-long event from July e were all first-timers 18 years ago when On a more modest level, but still displaying 18-25. Five of them were given in a rich diet of oboe and bassoon music in the concert at Birm- W the CBSO under Simon Rattle took possession of the Valhalla which is Symphony equally prodigious musicianship, a concert the previous afternoon from the Queens Park Sin- ingham Town Hall on July 22, packed with a Hall with Stravinsky’s complete Firebird for its fonia under the persuasive baton of Richard veritable United Nations of listeners as well as opening concert. On July 24 there was a diff- Laing brought no fewer than four double-reed performers too numerous to mention. erent kind of first-time audience – worldwide concertos to the Adrian Boult Hall. The immense Ben Tausman’s Cleaving Time for oboe (occ- delegates to the International Double Reed strain of accompanying so many different soloists, asionally playing piano as well) and narrator Society 2009 conference – who whooped, cheered and in so many different styles of music, was was a decoration of a poem by TM Derrickson and stood to applaud another performance of spectacularly surmounted. (herself declaiming) based on the Persephone the score under Andris Nelsons, and undoubt- Outstanding in this long programme was legend, and proved allusive to the point of edly the hall as well. Paul Patterson’s Phoenix Concerto for oboe and spoofiness. Tisarana (Prayer of the Firmament) Nelsons shaped all the colour and drama of strings, immediately approachable, eminently by Isao Matshushita for oboe, bassoon and the music, drawing from horn, woodwinds, programmable, and cultivating collaboration of koto-like piano flirted with microtones and swirling harps and indeed everybody; a reading ensemble instead of soloistic starriness – though multiphonics before the prayerful mood diss- which carried us through the score’s tedious Emily Pailthorpe, dedicatee and soloist in this olved into a hectic finale. There followed the padding (the Suite is much better than the
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