The short version
- Thea Musgrave’s latest composition, Out of the Darkness, features a bassoonist moving through the orchestra rather than remaining stationary.
- The work reflects her long-standing dramatic-abstract style, which treats musicians as individual characters rather than a unified collective.
- Musgrave frames the piece around the emotional journey from pandemic-era gloom to a determined sense of hopefulness.
Thea Musgrave, a Scottish composer who has resided in the United States since the early 1970s, is preparing for the premiere of her latest work at the Proms this weekend. At 98 years old, Musgrave shows no signs of slowing down, maintaining a vigorous creative output that includes a new opera based on Virginia Woolf’s Orlando, scheduled for next year’s Buxton festival. Her current focus, however, is Out of the Darkness, a concerto written specifically for bassoonist Amy Harman. The piece represents a continuation of Musgrave’s lifelong experimentation with orchestral dynamics and performer agency.
Central to Musgrave’s artistic identity is what she describes as a dramatic-abstract approach to composition. This method diverges from traditional orchestral structures by treating individual musicians as distinct characters with their own identities, rather than viewing the ensemble solely as a collective body directed by a conductor. This philosophy was inspired by a dream Musgrave had while taking conducting lessons, in which a clarinetist refused to sit down during a performance. The dream led directly to her 1967 Concerto for Orchestra, where soloists physically stand up and defy the conductor’s authority, creating a visceral musical conflict.
Musgrave has expanded on this concept in subsequent works. Her Clarinet Concerto features a soloist who walks among smaller groups within the orchestra, sharing control of the piece’s flow with the conductor. In her Horn Concerto, amplified horns surround both the stage and the audience, blurring the lines between performer and listener. A 2007 work for oboe and percussion depicted soloists starting as distant entities before finding musical unity. These pieces demonstrate a consistent effort to make the relationships between different sections of the orchestra tangible and dramatic.
The collaboration with Amy Harman began after Nicholas Daniel, an oboist who had previously worked with Musgrave, introduced the two musicians last year during a staging of Mary, Queen of Scots at the English National Opera. Daniel urged Musgrave to write a concerto for Harman, leading to a conversation about the physical possibilities of the bassoon. When Harman demonstrated that she could play while walking, despite the instrument’s bulk, Musgrave responded with characteristic enthusiasm, warning her that she would regret suggesting such a demanding physical requirement.
In Out of the Darkness, Harman will indeed move around the orchestra throughout the performance. Musgrave insists that this movement must serve a narrative purpose rather than being merely theatrical. The work begins in a state of profound sadness, reflecting the gloom experienced by many during the recent pandemic. As the piece progresses, the concertmaster introduces a small melody that serves as a voice of hope. Harman’s journey through the orchestra involves encounters with virtuosic trumpeters and double basses playing in ethereal registers, symbolizing a path toward this hopeful sound.
Musgrave describes the conclusion not as a definitive solution but as a determination to address difficult circumstances. The music balances darkness and light, acknowledging that people must face challenging periods in their lives. She emphasizes that while the return of hope may take time, it is an inevitable part of the human experience. This theme of resilience is woven into the fabric of the composition, making the physical movement of the bassoonist a metaphor for navigating through adversity.
The premiere on August 23 offers audiences a chance to witness Musgrave’s enduring influence on contemporary classical music. Her works are noted for their directness and dramatic intensity, qualities that have kept her relevant across decades of changing musical trends. The integration of physical performance with emotional narrative in Out of the Darkness highlights her ability to innovate even at the end of her life. Musgrave’s approach challenges listeners to engage with music not just as sound but as a dynamic interaction between performers and their environment.
Critics and fans alike have long questioned why Musgrave’s concertos are not more frequently programmed. Her pieces for bass clarinet, trumpet, viola, and other instruments offer a fearless and uncompromising vision of orchestral music. The upcoming performance at the Proms may help bring greater attention to her extensive catalog. By combining radical physicality with deep emotional resonance, Musgrave continues to push the boundaries of what classical music can express. Her work remains a testament to the power of artistic persistence and the enduring relevance of personal narrative in composition.
Sources behind this briefing
Go to the original reporting
- The Guardian US↗‘You’ll be sorry you told me this!’: the 98-year-old composer who gets musicians – even bassoonists - on their feet
