Apologies for the prosaic Thread title - I tried to think of something more dynamic, but when - after several attempts - I arrived at "Young Women Today", I decided that this wasn't going to happen. So, reactions to the Music heard on this week's programmes.
Cheryl FRANCES-HOAD (Monday, 9th)
My own overall impression was of a collection of pieces generally well-crafted, safe, and rather anonymous; I cannot imagine that anyone would find these works offensive, but nor can I imagine anyone responding with any great enthusiasm to them - making arrangements to attend a concert specifically to hear one of her works. The choral There is No Rose was an impressive piece for a 14-year-old, and could well find its way into that sort of repertory. 5 Rackets I found annoying; but perhaps its intention is to provide repertoire for amateurs and professionals to play together - I might find it more engaging to play than to listen to. One Life Stand doodled the time away (adding nothing to the far more interesting verses) and Memoria had some engaging ideas over its quarter-hour span - but, again as far as I'm concerned, nothing that would make the prospect of seeing the composer's name on a programme an exciting, unmissable one.
But, by far the most interesting sounds were to be found in her setting of Psalm 1: for once, and just once in this programme, there were sounds that grabbed me by the ears and demanded (and repaid) my attention and quickened my pulse as I listened. A sense of successfully stepping outside of the (very comfortable) comfort zone of the other pieces here which suggests a composer of considerable ability, worth hearing. I hope her career "success" doesn't take her away from further exploring this side of her creativity.
Cheryl FRANCES-HOAD (Monday, 9th)
My own overall impression was of a collection of pieces generally well-crafted, safe, and rather anonymous; I cannot imagine that anyone would find these works offensive, but nor can I imagine anyone responding with any great enthusiasm to them - making arrangements to attend a concert specifically to hear one of her works. The choral There is No Rose was an impressive piece for a 14-year-old, and could well find its way into that sort of repertory. 5 Rackets I found annoying; but perhaps its intention is to provide repertoire for amateurs and professionals to play together - I might find it more engaging to play than to listen to. One Life Stand doodled the time away (adding nothing to the far more interesting verses) and Memoria had some engaging ideas over its quarter-hour span - but, again as far as I'm concerned, nothing that would make the prospect of seeing the composer's name on a programme an exciting, unmissable one.
But, by far the most interesting sounds were to be found in her setting of Psalm 1: for once, and just once in this programme, there were sounds that grabbed me by the ears and demanded (and repaid) my attention and quickened my pulse as I listened. A sense of successfully stepping outside of the (very comfortable) comfort zone of the other pieces here which suggests a composer of considerable ability, worth hearing. I hope her career "success" doesn't take her away from further exploring this side of her creativity.
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