I’m particularly thrilled when composers working with BCMG really push and develop their practice, as the American David Lang did with his 1,000 voice extravaganza Crowd Out back in June. On a totally different scale, Howard Skempton’s Field Notes for four players, devised in a wonderfully fruitful partnership with visual artist Matthew Harris, sees both composer and artist relishing new territory in October, with a programme featuring a gem by the new Master of the Queen’s Music Judith Weir.
Param Vir, too, explores new ground in his sarod concerto for the young virtuoso Soumik Datta, promising something of exceptional interest and integrity in our season launch concert on Saturday 4 October. BCMG’s international outlook is underlined when conductor Franck Ollu brings a host of works new to the UK from French and Swedish composers to our January 2015 concert, including two premieres, and Oliver Knussen features German and American pieces in April including a new work from exciting youngster Arne Gieshoff, working with us across the year.
Elsewhere, we celebrate contemporary song in a fabulous collection commissioned and programmed by John Woolrich; mount our latest Family & Schools’ Concerts with Stan’s Cafe (all welcome!) and, returning to my opening theme, tour the first double-bill staging of David Sawer’s mad boy clever girl, uniting two landmark BCMG commissions from this brilliant composer of the theatre.