15:00
Cadogan Hall
Michael Cox, Mark van de Wiel, the London Sinfonietta and Thierry Fischer, live at the BBC Proms. Celebrations for Pierre Boulez's 90th-birthday year reach a climax in this matinee performance, in which contemporary music specialists the London Sinfonietta pair Boulez's own music with that of young British composers Helen Grime and Christian Mason.
Pierre Boulez: Mémoriale ('... explosante-fixe ...' Originel)
Helen Grime: A Cold Spring
Pierre Boulez: Domaines
Christian Mason: Open to Infinity: a Grain of Sand (BBC co-commission: UK premiere)
Pierre Boulez: Éclat/Multiples
Michael Cox (flute)
Mark van de Wiel (clarinet)
London Sinfonietta
Thierry Fischer conductor
Pierre Boulez's Mémoriale puts the flute in the spotlight, showcasing minutiae of texture and articulation, while in Domaines it's a solo clarinet that gives out a sustained soliloquy. The two contrasting parts of Éclat/Multiples (1970) are theoretically part of a larger work, as yet unfinished by the composer. They make for a striking contrast: the brilliant, glittering colours of Éclat set against the nervy perpetual motion of Multiples.
Cadogan Hall
Michael Cox, Mark van de Wiel, the London Sinfonietta and Thierry Fischer, live at the BBC Proms. Celebrations for Pierre Boulez's 90th-birthday year reach a climax in this matinee performance, in which contemporary music specialists the London Sinfonietta pair Boulez's own music with that of young British composers Helen Grime and Christian Mason.
Pierre Boulez: Mémoriale ('... explosante-fixe ...' Originel)
Helen Grime: A Cold Spring
Pierre Boulez: Domaines
Christian Mason: Open to Infinity: a Grain of Sand (BBC co-commission: UK premiere)
Pierre Boulez: Éclat/Multiples
Michael Cox (flute)
Mark van de Wiel (clarinet)
London Sinfonietta
Thierry Fischer conductor
Pierre Boulez's Mémoriale puts the flute in the spotlight, showcasing minutiae of texture and articulation, while in Domaines it's a solo clarinet that gives out a sustained soliloquy. The two contrasting parts of Éclat/Multiples (1970) are theoretically part of a larger work, as yet unfinished by the composer. They make for a striking contrast: the brilliant, glittering colours of Éclat set against the nervy perpetual motion of Multiples.
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