Second City Firsts - International Double Reed Society by ProQuest

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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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