I first became acquainted with Dusapin's Music when it was featured at the 1997 Huddersfield Festival, and was then greatly impressed by the pieces I heard, most of which was performed by the ensemble Ars Nova, who also recorded many of them for Montaigne Naive:
This remains my favourite representation of his work - an individual and convincing "voice", closer in style to the work of his teachers Xenakis and Donatoni than to his French contemporaries, but also avoiding a simple copying of the superficial fingerprints of his teachers. Indeed, a determination not to be seduced by the obvious attractions offered in the work of other composers, rather to sift out anything that didn't exactly fuel the expressive needs of his Music is a characteristic of these works from the 1980s and early '90s.
Many Forumistas, however, will know his three choral works from the late 1990s which feature on the Requiem[s] disc in the Accentus box (with the Brahms & Fauré requiems, the Haydn Seven Last Words, and the "Transcriptions" collection). I confess to feeling less involved, impressed, or moved by Dusapin's subsequent developments as a composer. Whilst I can only admire his determination not simply to repeat any "formula" for success with which his earlier works might have tempted him, I find such of his works written in this century that I have heard to be ... well, rather "ordinary"; softer-edged and simply not as exciting.
This Wednesday's Prom features Dusapin's second 'cello concerto, Outscape, with Alicia Weilerstein, for whom the work was written, and her brother Joshua conducting the BBCSO. Here the composer introduces the work:
And, from an interview with the CSO online magazine, Alicia Weilerstein describes the work:
This remains my favourite representation of his work - an individual and convincing "voice", closer in style to the work of his teachers Xenakis and Donatoni than to his French contemporaries, but also avoiding a simple copying of the superficial fingerprints of his teachers. Indeed, a determination not to be seduced by the obvious attractions offered in the work of other composers, rather to sift out anything that didn't exactly fuel the expressive needs of his Music is a characteristic of these works from the 1980s and early '90s.
Many Forumistas, however, will know his three choral works from the late 1990s which feature on the Requiem[s] disc in the Accentus box (with the Brahms & Fauré requiems, the Haydn Seven Last Words, and the "Transcriptions" collection). I confess to feeling less involved, impressed, or moved by Dusapin's subsequent developments as a composer. Whilst I can only admire his determination not simply to repeat any "formula" for success with which his earlier works might have tempted him, I find such of his works written in this century that I have heard to be ... well, rather "ordinary"; softer-edged and simply not as exciting.
This Wednesday's Prom features Dusapin's second 'cello concerto, Outscape, with Alicia Weilerstein, for whom the work was written, and her brother Joshua conducting the BBCSO. Here the composer introduces the work:
And, from an interview with the CSO online magazine, Alicia Weilerstein describes the work:
What excited you about the possibility of a cello concerto by Pascal Dusapin?
I listened to several of his other works and was immediately taken by his unique musical language and orchestration. I was thrilled when I heard that he might write something for me.
Could you describe the piece, especially its musical language? How do you see it relating with nature?
The piece has a very interesting combination of yearning lyricism and urgent drive. One could almost describe it as neo-romantic in that it is emotionally very open, and yet its orchestration and language is absolutely of today. There is an almost constant, very intricate rhythmic interplay between the orchestra and soloist that gives the piece a nervous energy, and it makes for some incredibly compelling writing.
What technical and interpretative challenges does the concerto present to the performer?
Pascal clearly knows the cello very well. The solo part is technically demanding but lies beautifully in the hands. The ensemble between the solo part and orchestra as well as the layers of instrumentation also present some fun challenges.
I listened to several of his other works and was immediately taken by his unique musical language and orchestration. I was thrilled when I heard that he might write something for me.
Could you describe the piece, especially its musical language? How do you see it relating with nature?
The piece has a very interesting combination of yearning lyricism and urgent drive. One could almost describe it as neo-romantic in that it is emotionally very open, and yet its orchestration and language is absolutely of today. There is an almost constant, very intricate rhythmic interplay between the orchestra and soloist that gives the piece a nervous energy, and it makes for some incredibly compelling writing.
What technical and interpretative challenges does the concerto present to the performer?
Pascal clearly knows the cello very well. The solo part is technically demanding but lies beautifully in the hands. The ensemble between the solo part and orchestra as well as the layers of instrumentation also present some fun challenges.
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