Young group presents magic mix of composers
Chroma
Chroma
Avoncroft Museum, Bromsgrove
Currently and deservedly shortlisted for a prestigious Royal Philharmonic Society prize, Bromsgrove Concerts' "Mixing Music" contemporary series brought a fascinating mix of British and Japanese composers to the splendid acoustic of the Guesten Hall on Wednesday, played by the remarkable young chamber group Chroma.
The evening offered several premières as well as the chance to reassess the status of one of the world's most fashionable and revered voices, Toru Takemitsu, who died seven years ago.
His Toward the Sea III for alto flute and harp makes immense demands upon the breath-control of the flautist, sustaining veiled tones with rarely the chance to blossom into full voice. Such restraint coupled with frequent lingerings into silence risks becoming tiresome, but it was refreshing to hear how unashamedly the Japanese composer admired that great orientalist, Debussy.
Debussy's shade also hovers over Takemitsu's far more rewarding Rain Spell, where exploratory instrumental techniques bring sheerly lovely sounds before a tableau-like ending which recalls Prélude à l'Après-midi d'un Faune.
The beautifully-achieved conclusion here should serve as an object-lesson to composers who take the easy expedient of merely slicing off their music in mid-discourse: William Attwood in his Caillouteux (here receiving its UK première), an interesting collision of dynamics and register with a scurrying poltergeist bass clarinet, and Tansy Davies in her nervily interactive Undertow.
But a genuine sense of finality concluded Caprichos, commissioned by Bromsgrove Concerts from composer-host Philip Cashian.
Taking the disturbing grotesqueries of Goya's Los Caprichos as its starting-point, this sparky piece accumulates great kinetic energy.
Violin, cello and the hyperactive piano often provide percussive effects to season the occasional long-breathed melody from clarinet and violin, and the whole piece exploits with tremendous success the natural empathy of the Chroma players, to whom it is dedicated.
Edward Dudley Hughes' Light Cuts Through Dark Skies proved immediately attractive (and more homage to Debussy), Jo Kondo's An Insular Style, dividing its melody over timelessly modal harmonies, is most kindly described as repose-inducing, and the vernal freshness and expectancy of Tim Fiddies' Spring Torrents introduced a new voice of much promise.
The evening offered several premières as well as the chance to reassess the status of one of the world's most fashionable and revered voices, Toru Takemitsu, who died seven years ago.
His Toward the Sea III for alto flute and harp makes immense demands upon the breath-control of the flautist, sustaining veiled tones with rarely the chance to blossom into full voice. Such restraint coupled with frequent lingerings into silence risks becoming tiresome, but it was refreshing to hear how unashamedly the Japanese composer admired that great orientalist, Debussy.
Debussy's shade also hovers over Takemitsu's far more rewarding Rain Spell, where exploratory instrumental techniques bring sheerly lovely sounds before a tableau-like ending which recalls Prélude à l'Après-midi d'un Faune.
The beautifully-achieved conclusion here should serve as an object-lesson to composers who take the easy expedient of merely slicing off their music in mid-discourse: William Attwood in his Caillouteux (here receiving its UK première), an interesting collision of dynamics and register with a scurrying poltergeist bass clarinet, and Tansy Davies in her nervily interactive Undertow.
But a genuine sense of finality concluded Caprichos, commissioned by Bromsgrove Concerts from composer-host Philip Cashian.
Taking the disturbing grotesqueries of Goya's Los Caprichos as its starting-point, this sparky piece accumulates great kinetic energy.
Violin, cello and the hyperactive piano often provide percussive effects to season the occasional long-breathed melody from clarinet and violin, and the whole piece exploits with tremendous success the natural empathy of the Chroma players, to whom it is dedicated.
Edward Dudley Hughes' Light Cuts Through Dark Skies proved immediately attractive (and more homage to Debussy), Jo Kondo's An Insular Style, dividing its melody over timelessly modal harmonies, is most kindly described as repose-inducing, and the vernal freshness and expectancy of Tim Fiddies' Spring Torrents introduced a new voice of much promise.
Christopher Morley