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CLASSICALMUSICMAGAZINE.ORG
JANUARY 2019
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Putting Dorico’s
notation software
to the test
Blackheath Halls
reopen after
refurbishment
WHAT’S THE
SCORE?
TWO MONTHS’
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NEW LIGHT
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STRINGS FOCUS
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JENNIFER PIKE
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PLAYING THE HARP
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EARLY MUSIC TODAY
9
Southbank Centre
director of music
Gillian Moore MBE
SEE PAGE 53
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CONTENTS
JANUARY 2019 ISSUE 1052
IN THIS ISSUE
GUEST EDITOR:
GILLIAN MOORE
54 WHO NEEDS
CLASSICAL MUSIC?
58 THROWING OPEN
THE DOORS
Access through
architecture
26
5
6
9
58
76
47
EARLY MUSIC
News, previews and
FEEDBACK/
HORNBLOWER’S DIARY
NEWS
News in brief
© RICHARD CAVE
WELCOME
© RHYS FRAMPTON
© DAVID TIERNAN
© RAPHAËL NEAL
reviews
The Eton Choirbook
74
14 BARLINES
17
STRINGS FOCUS:
THESE POLISH THINGS
Jennifer Pike on her latest
album
Catrin Finch shares her
passion for the harp
INSIDE VIEW
OPINION
76 HARP OF GOLD
62 FROM WHERE I SIT
Chris Denton on
audience behaviour
The art of curation
19
We shouldn’t be too
surprised that folk
are fighting in our
concert halls
entering fresh and
exciting waters
Keeping the show on
the road
The rise of populism
The Hermes
CM0119_001_R_Cover_ok.indd 2
64 CLAIRE CHASE Q&A
67 HOME AND AWAY
COVER FEATURE
Looking to the future
Inside the renovated
Blackheath Halls
78 HIRING A HARP
18/12/2018 11:18:25
30 OXFORD PHILHARMONIC
36 A NEW LIGHT
81 STRINGS NEWS
82 LISTINGS
98 Q&A: ANGELA DIXON
102 ARTIST OF THE MONTH
Karin Hendrickson
20
HIP is once again
Composers working
abroad
70 INTERVIEW:
MAXIME PASCAL
22 SPECIALISED TRAVEL
38 WHAT’S THE SCORE?
Rediscovering
Stockhausen’s
Licht
Mark-Anthony
Turnage discusses his
working-class roots
24 CONTINENTAL DRIFT
26 PREMIERES
Dorico notation software
reviewed
Poul Ruders’
The
Handmaid’s Tale
105 RECORDING
109 CD REVIEWS
112 BOOKS
114 EXTENDED INTERVALS
Michael White’s critic’s
month
72 A CLASS ACT
40 ONCE UPON A TIME
Experiment
Richard Causton
Laura Bowler
44 CULTURE AND VALUE
Camilla Seale explores the
relationship
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Welcome
ho is music for, and how do we get
as many people as possible, from all
backgrounds, to get involved with
it? There are no easy answers to these questions and
huge obstacles to overcome. For me, these questions
demand that we think a little differently and as
director of music at London’s Southbank Centre, I
feel it’s my responsibility to do just that.
This issue celebrates composers, conductors and
curators who are taking a different tack, and looks at
some of the reasons why people may not feel that classical music is for them, and what we
can do to address this.
This month, Southbank Centre will be taking a global view of contemporary music in
a new festival, SoundState. Featured artist Claire Chase is a renowned flute player and
also an adventurous commissioner and curator. She takes time out to tell us more about
what drives her work. Jessica Duchen discusses international music cross-pollination with
three globe-trotting composers who have chosen to make their creative homes on foreign
shores. Charlotte Gardner talks to the exciting young French conductor Maxime Pascal,
who is conducting the first UK performance in more than 30 years of Stockhausen’s epic
Donnerstag aus Licht
at the Royal Festival Hall in May.
We all have our own stories about how we discovered music, whether in the home, in our
community or at school. Wherever the musical seeds are planted, without nurturing they
can easily wither and die. The current crisis in music education, coupled with a perception
that classical music can be opaque and uninviting, needs to be challenged. Composer Mark-
Anthony Turnage, who, like me, is from an ordinary background, writes revealingly about
the relationship between class and classical music, and Susan Nickalls explores the role that
architecture can play in opening up arts for all, quite literally stripping away barriers to
engagement. Southbank Centre’s director of audiences, Chris Denton, argues that it’s time
for the sector to work more closely together to grow audiences for the future, with research
suggesting that most audiences may care more about what, rather than who, they listen to.
Food for thought to start 2019. Happy New Year!
www.southbankcentre.co.uk
W
© SARAH HICKSON
GILLIAN MOORE
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JANUARY 2019
CLASSICALMUSICMAGAZINE.ORG
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