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Helen Grime

Publisher: Chester Music

Fanfares (2017)
Commissioned for Sir Simon Rattle and the London Symphony Orchestra by the Barbican
Work Notes
Commissioned for Sir Simon Rattle and the London Symphony Orchestra by the Barbican
Publisher
Chester Music Ltd
Category
Orchestra
Year Composed
2017
Duration
4 Minutes
Programme Note
Helen Grime Fanfares (2017)
Fanfares was commissioned by the Barbican for the London Symphony Orchestra and Sir Simon Rattle and received its premiere at the opening concert of the LSO’s 2017-18 season on 14 September 2017. It is the first movement of a larger orchestral piece to be premiered in April 2018, but can also be performed as a stand-alone work.

Performances
Date
Title
  • 14 SEP 2017
    Fanfares World Premiere
    LSO 2017/18 season opening concert
    Barbican Centre, London
    London Symphony Orchestra
    Sir Simon Rattle, conductor

Reviews
Helen Grime’s short, dancing, air-filled Fanfare, a world premiere, cast a brief spotlight on each area of the orchestra.
Fiona Maddocks, The Observer,17/09/2017
...an iridescent and scintillating opener, lyrically infused at its mid-point, and if the ending leaves the musical door ajar, then there is more to come, for which Fanfares is a tasty appetiser.
Colin Anderson, Classical Source,15/09/2017
[The programme] put down a welcome marker for contemporary British music. Helen Grime’s scintillating Fanfares, with eloquent lyrical core and upbeat ending, might have stood as an emblem of things to come.
Barry Millington, Evening Standard,15/09/2017
...but a fizzy little showpiece for all sections of the orchestra...
Andrew Clements, The Guardian,15/09/2017
This is intoxicating music that, in its riotous display of orchestral colour, harnesses the LSO’s exuberance.
Hannah Nepil, Financial Times,15/09/2017
...far more than a fanfare, exuberantly juxtaposing scything wind and percussion chords with sinuous string counterpoints.
Richard Morrison, The Times (London),15/09/2017
Exuberantly colourful and displaying a real melodic gift, this five-minute work traversed a series of sound-worlds before ending in mid-phrase – appropriately, since this is theoretically the embryo of a larger work to come.
Michael Church, The Independent,15/09/2017
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