Sohrab Uduman: World Premier of New Composition


Share |
Sohrab Uduman 200 x 200
Posted on 28 November 2016

The composition, written by Sohrab Uduman, winner of the Britten Sinfonia Opus 2016 prize, - 'Dann Kingt es Auf' for violin, cello and piano will be premiered as part of their At Lunch Series in London, Norwich, Cambridge. The composition was commissioned by the Britten Sinfonia and Wigmore Hall.

Full details can be found at  www.sohrabuduman.co.uk

The London Premiere was performed at the Wigmore Hall on 14th December 2016.

The article below is taken from a review of the concert at: 
http://boulezian.blogspot.co.uk/2016/12/britten-sinfonia-webern-uduman-and.html?m=1

In between Webern and Schoenberg-Steuermann came not quite the premiere of Sohrab Uduman’s “Dann klingt es auf…”, for that had taken place in Norwich on 9 December, but its first London performance. The title comes from a Hildegard Jone poem, used in Webern’s exquisite Second Cantata. (Now when shall we hear a performance of that in London, or indeed anywhere else?) ‘Shimmering colours’, suggested by the title, looked both forwards and backwards. In context, at least, the opening had something of a sense of a much ‘busier’ version of the opening of Webern’s set of pieces. There was, throughout, a true sense of three voices, interacting in all manner of ways; indeed, the transformation of such interaction – Uduman refers to ‘fusion and disentangling of the contrasting timbres of the piano and strings’ – seemed to lie at its heart. So too, however, did some sense of narrative, even if it could not be put into words (and why should it be?) Sections within its ten-minute span seemed not unlike those we should hear in the Schoenberg. A sudden slowing, without letting up of tension, suggested something akin to a slow movement, in a Liszt-Schoenberg tradition (movement within a movement); or perhaps that was just my idiosyncratic way of making sense of a new work. Material was still being developed, it seemed, from what had gone before, and would continue to be; transformation, another Lisztian concept, seemed a not entirely inappropriate way of considering what may well have been quite a Romantic journey from darkness to light. The piece was played with all the confidence, none of the staleness, of a repertory stalwart. Three cheers, once again, to the ever-enterprising Britten Sinfonia!


back