{"id":47098,"date":"2024-09-05T18:04:38","date_gmt":"2024-09-05T16:04:38","guid":{"rendered":"http:\/\/55959b2a-6751-470f-8977-53e526f03079"},"modified":"2024-09-05T19:07:16","modified_gmt":"2024-09-05T17:07:16","slug":"thomas-ades-the-innovative-british-composer-who-expertly-mixes-modernism-and-emotional-depth","status":"publish","type":"rss_feed","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/rss_feed\/thomas-ades-the-innovative-british-composer-who-expertly-mixes-modernism-and-emotional-depth\/","title":{"rendered":"Thomas Ad\u00e8s: the innovative British composer who expertly mixes modernism and emotional depth"},"content":{"rendered":"<p class=\"rssexcerpt\"><\/p><p class=\"rssauthor\">By <\/p><p class=\"rssbyline\">Published: Thursday, 05 September 2024 at 16:04 PM<\/p><hr class=\"no-tts wp-block-separator\"\/><?xml version=\"1.0\" encoding=\"UTF-8\" standalone=\"yes\"?>\n<!DOCTYPE html PUBLIC \"-\/\/W3C\/\/DTD HTML 4.0 Transitional\/\/EN\" \"http:\/\/www.w3.org\/TR\/REC-html40\/loose.dtd\">\n<html><body><p>Read on to learn more about the British composer Thomas Ad\u00e8s, whose new work <em>Aquifer<\/em> is being performed at the <strong><a href=\"https:\/\/www.classical-music.com\/bbc-proms\/2024-bbc-proms-listings\">2024 BBC Proms<\/a><\/strong>. It&#8217;s getting its UK premiere with the Bavarian Radio Symphony Orchestra and conductor <strong><a href=\"https:\/\/www.classical-music.com\/features\/artists\/simon-rattle\">Simon Rattle<\/a><\/strong>, for <strong><a href=\"https:\/\/www.classical-music.com\/news\/bbc-proms-today-5-september-2024\">Prom 61<\/a><\/strong> (Thur 5 Sept). <\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Thomas Ad\u00e8s - Aquifer\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/xU3sOHIegFQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><h2 class=\"wp-block-heading\">Who is Thomas Ad\u00e8s?<\/h2><p>A British composer, conductor, and pianist, Thomas Ad\u00e8s is one of the most influential, innovative composers working today. His distinctive musical idiom combines bold <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-is-harmony-in-music\">harmonies<\/a><\/strong>, complex textures, and a striking ability to blend adventurous modernism with moving, emotional depth.<\/p><p>Ad\u00e8s\u2019s music can be sophisticated and quite complex to get a handle on. It&#8217;s also, though, profoundly original and emotionally engaging. <\/p><h2 class=\"wp-block-heading\">Where was Thomas Ad\u00e8s born?<\/h2><p>Thomas Ad\u00e8s was born in London in 1971 and studied piano, percussion and composition at the Guildhall School of Music in London. He then read Music at King\u2019s College, Cambridge, before embarking on a career as a composer and <strong><a href=\"https:\/\/www.classical-music.com\/features\/articles\/what-does-a-conductor-do\/\">conductor<\/a><\/strong>. <\/p><h2 class=\"wp-block-heading\">Where was Thomas Ad\u00e8s&#8217;s first professional post?<\/h2><p>Ad\u00e8s\u2019s first professional post was Composer in Association with the Hall\u00e9 Orchestra, from 1993 to 1995, during which time he wrote <strong><a href=\"https:\/\/www.thomasades.com\/compositions\/asyla\" target=\"_blank\" rel=\"noreferrer noopener\"><em>These Premises Are Alarmed<\/em><\/a> <\/strong>for the opening of the Bridgewater Hall in 1996. He wrote <strong><a href=\"https:\/\/www.thomasades.com\/compositions\/asyla\"><em>Asyla<\/em><\/a><\/strong> in 1997 for Sir Simon Rattle and the City of Birmingham Symphony Orchestra. Rattle later conducted <em>Asyla <\/em>in his opening concert as music director of the <strong><a href=\"https:\/\/www.classical-music.com\/features\/artists\/berlin-philharmonic\">Berlin Philharmonic<\/a><\/strong>.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Ad\u00e8s: Asyla \/ Simon Rattle's Inaugural Concert from 2002\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/GvDqaYajjEE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><p>Ad\u00e8s has received commissions from further afield, notably <em>America: A Prophecy<\/em> written for the New York Philharmonic Orchestra. His compositions have also featured at festivals around the world, including New Horizons Festival in Saint Petersburg, Russia, Royal Stockholm Philharmonic Festival and the Melbourne Festival.<\/p><p>From 1999 to 2008, Thomas Ad\u00e8s was artistic director of Aldeburgh Festival, the music festival co-founded by <a href=\"https:\/\/www.classical-music.com\/features\/composers\/benjamin-britten-composer\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Benjamin Britten<\/strong><\/a>. He has also conducted a number of orchestras and ensembles around the world, including the Boston Symphony Orchestra, Chamber Orchestra of Europe, Orchestre National de France, London Symphony Orchestra, London Sinfonietta and Ensemble Modern.<\/p><p>He has made several recordings as a pianist, including of works by composers <a href=\"https:\/\/www.classical-music.com\/topic\/igor-stravinsky\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Stravinsky<\/strong><\/a> and <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/busoni-ferruccio\">Busoni<\/a><\/strong>.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Excerpt: Thomas Ad\u00e8s' Concerto for piano and orchestra (world premiere; BSO commission)\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/qGw6QS5-tZg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><p><strong>Did you know?<\/strong> <\/p><ul><li>Ad\u00e8s achieved a double first at King&#8217;s College, Cambridge and was made Britten Professor of Composition at the Royal Academy of Music.<\/li><li>He was music director of the Birmingham Contemporary Music Group from 1998 to 2000.<\/li><li>He is the only composer to have won the Royal Philharmonic Society Prize for large-scale composition three times.<\/li><li>In 2008, Thomas Ad\u00e8s collaborated with his then-partner, the video artist Tal Rosner, on a piano concerto with moving images, <em>In Seven Days<\/em>. <\/li><\/ul><h2 class=\"wp-block-heading\">Where to start with Thomas Ad\u00e8s? Try these five works<\/h2><h3 class=\"wp-block-heading\"><strong><em>Asyla<\/em><\/strong><\/h3><p>Composed in 1997, <em>Asyla <\/em>is written in four movements and was commissioned by the CBSO and conducted at its premiere by Simon Rattle. The piece includes cowbell and a quarter-tone-flat upright piano.<\/p><figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe title=\"Spotify Embed: Ad\u00e8s: Asyla\" style=\"border-radius: 12px\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/album\/2knQnWd9ifInfn3TbRXq3x?utm_source=oembed\"\/><\/div><\/figure><h3 class=\"wp-block-heading\"><strong><em>Tevot<\/em><\/strong><\/h3><p><em>Tevot<\/em> was commissioned by the Berlin Philharmonic and its world premiere was conducted by Sir Simon Rattle on 21 February 2007. In Hebrew, <em>Tevot<\/em> means \u2018ark\u2019 but can also mean \u2018box\u2019 or \u2018vessel\u2019 or alternately, \u2018bars\u2019 in a piece of music. Ad\u00e8s told <em>The Guardian<\/em> \u2018I liked the idea that the bars of the music were carrying the notes as a sort of family through the piece\u2019.<\/p><figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe title=\"Spotify Embed: Ad\u00e8s: Tevot &amp; Violin Concerto\" style=\"border-radius: 12px\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/album\/4d30S28j3dgEsMUCm0NDFY?utm_source=oembed\"\/><\/div><\/figure><h3 class=\"wp-block-heading\"><em><strong>Powder Her Face<\/strong><\/em><\/h3><p>Written in 1995, <em>Powder Her Face<\/em> is an opera for four singers and chamber orchestra. The opera is about a beautiful and promiscuous Duchess who is publicly disgraced during her divorce from the Duke of Argyll. Zachary Woolfe of the <em>New York Times<\/em> said of the work: &#8216;Since its premiere <em>Powder Her Face<\/em> has been known as an opera about tabloid culture and the transience of modern celebrity, and it certainly is that. But more clearly than ever it also comes across as a work about class resentment, about the coruscating, deadening effects of money.&#8217;<\/p><figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe title=\"Spotify Embed: Ad\u00e8s: Powder Her Face\" style=\"border-radius: 12px\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/album\/1wCJiSzoRlUkUsZJS0r5FW?utm_source=oembed\"\/><\/div><\/figure><h3 class=\"wp-block-heading\"><em><strong>The Tempest<\/strong><\/em><\/h3><p><em>The Tempest<\/em>, written in 2003, is an opera in three acts based on Shakespeare&#8217;s play of the same name which Alex Ross from<em> The New Yorker<\/em> describes as a \u2018masterpiece of airy beauty and power\u2019. Tom Service, in <em>The Guardian<\/em>, said: &#8216;The sounds in <em>The Tempest<\/em> are, I find, some of the most unforgettable and most moving of any recent music.&#8217;<\/p><figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe title=\"Spotify Embed: Thomas Ades: The Tempest\" style=\"border-radius: 12px\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/album\/7b013AoSOqRbur5sLblr5O?utm_source=oembed\"\/><\/div><\/figure><h3 class=\"wp-block-heading\"><em><strong>Darkness Visible<\/strong><\/em><\/h3><p>Written for solo piano in 1992, <em>Darkness Visible<\/em> that references a John Dowland lute song and causes shimmering textures with a ceaseless tremolo.<\/p><figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe title=\"Spotify Embed: Darknesse Visible\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/4OyfEUsgMB1dMQE7wKVun3?utm_source=oembed\"\/><\/div><\/figure><h2 class=\"wp-block-heading\">Thomas Ad\u00e8s in his own words<\/h2><p>In the July 2013 issue of <em>BBC Music Magazine<\/em>, Thomas Ad\u00e8s talked to our interviewer James Naughtie. Here is some of what he said\u2026 \u2018Politicians, who are actors really, puzzle me because I don\u2019t think it\u2019s natural for a human mind to be arranged pointing in one direction. You have to pretend if you say that\u2019s the case. Because it is not the way it is. And <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/richard-wagner\">Wagner<\/a><\/strong> is often \u2013 enjoyably for me \u2013 torn apart by the contradictions.\u2019<\/p><p>\u2018The music in my mind is a sort of underground river that flows on all the time, and it\u2019s looking for a channel. So in a piece, for example, with an idea, text and character, they are just the channel and I have to let the music dig out, if you like, the piece from the rock\u2019.<\/p><p>\u2018When I set a text to music, I\u2019ve got the words, and in composing I don\u2019t reach out and grab as many butterflies as I can and hope I find the right one. That\u2019s not the way. <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/edward-elgar\">Elgar<\/a><\/strong> spoke about the air being full of music: you just take as much as you need. That\u2019s close to what I think.\u2019<\/p><p>\u2018If I listen to Wagner&#8217;s <a href=\"https:\/\/www.classical-music.com\/features\/works\/guide-wagners-tristan-und-isolde\"><strong><em>Tristan<\/em> <em>und Isolde<\/em><\/strong><\/a>, I find it\u2019s really very much a working out of certain harmonic problems that were posed by <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/franz-liszt\">Liszt<\/a><\/strong>. What I love about Liszt is that he left a lot of things unresolved.\u2019<\/p><p>(Of Britten&#8217;s <em><strong><a href=\"https:\/\/www.classical-music.com\/features\/recordings\/peter-grimes-britten\">Peter Grimes<\/a><\/strong><\/em>) \u2018I just can\u2019t believe in all these people dressed up as fishermen and that woman singing about her knitting. I mean, who cares?\u2019<\/p><h2 class=\"wp-block-heading\">Thomas Ad\u00e8s on the music that shaped him<\/h2><p>For our April 2024 issue, Thomas Ad\u00e8s spoke to BBC Music Magazine about the music that has shaped his life and career. Here are the six defining pieces of music that he chose.<\/p><h3 class=\"wp-block-heading\"><strong>Schubert <\/strong>Octet<strong>\u00a0<\/strong><\/h3><p>David Oistrakh et al <em>Warner\u00a0 9029503713<\/em><\/p><p>My earliest experience of music was as a manifestation of the physical world: <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/franz-schubert\">Schubert<\/a><\/strong>\u2019s \u2018Trout\u2019 Quintet merged\u00a0with the patterns of light on water reflected on a ceiling. I was kept quiet (ish) on long car journeys by tapes of his songs and of the Octet. I found his songs extended this merging into emotional paradoxes:<em> Lachen und Weinen<\/em>, happiness and sadness at once. <\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Schubert: Octet in F groot, D 803 - Janine Jansen &amp; Friends - IKFU 2015 - Live Concert HD\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/O52r9_bXWBw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><p>This feeling of music and life merged into one was my main experience of the world. The mystery of his Octet is still how it can be so tender and intimate, even domestic, and at the same time cosmically vast. I feel that the music is fully aware of this irony.<\/p><h3 class=\"wp-block-heading\"><strong>Chopin<\/strong> Polonaise in A flat<\/h3><p>Evgeny Kissin (piano) <em>RCA 09026635352<\/em><\/p><p>By about ten, I was obsessed with <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/frederic-chopin\">Chopin<\/a><\/strong>, firstly the \u2018Polonaise h\u00e9ro\u00efque\u2019 \u2013 a space with no floor and no ceiling, all certainties immediately undermined. In such a turbulent universe, anything could happen; he can drift unimaginably far and come crashing back with ferocious force. Another paradox: the widest yearning to roam, with such homesickness.<\/p><h3 class=\"wp-block-heading\"><strong>Walton<\/strong> <em>Fa\u00e7ade<\/em><\/h3><p>Cathy Berberian (mezzo) et al\/Steuart Bedford <em>OUP 680 3647<\/em><\/p><p>My father says after he showed me my first notes I pushed him off the piano stool. I was also one of those babies who liked the different noises objects made. When my mother needed her saucepans and wooden spoons back, I was given a beautiful snare drum, then hi-hat cymbals, a cowbell, a woodblock: my favourite things. <\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"William Walton: Fa\u00e7ade \/ Hannigan \u00b7 Rattle \u00b7 Berliner Philharmoniker\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/79ahguBURn4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><p>Growing into adolescence, I loved music with a lot of percussion as I could get involved at home: Var\u00e8se, Stravinsky\u2019s<em> The Soldier\u2019s Tale<\/em>. My favourite was <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/walton-william\">William Walton<\/a><\/strong>\u2019s <em>Fa\u00e7ade <\/em>\u2013 I would try to play along with the score to the Cathy Berberian\/Robert Tear recording. In<em> Fa\u00e7ade <\/em>too, I\u2019m allured by the paradox: delicious flippancy (1920s cowbell and Edith Sitwell\u2019s quicksilver poetry) dancing over an abyss of damnation and desolation: \u2018Why did the cock crow? Why am I lost, Down the endless road to infinity tossed?\u2019<\/p><h3 class=\"wp-block-heading\"><strong>Stravinsky<\/strong> <em>Les noces<\/em>\u00a0<\/h3><p>Pokrovsky Ensemble<em> Nonesuch 0349712636<\/em><\/p><p>Stravinsky\u2019s <em>Les Noces<\/em> bowled me over, and I\u2019ve stayed bowled over. It was real life: the chaotic wedding, the singers playing different parts, as if a hand-held camera swooped through the party picking up every rank detail. But it was <em>controlled <\/em>chaos \u2013 precise in every rhythm, harmony and tune after tune. <\/p><p>It isn\u2019t concert music \u2013 it\u2019s a village knees-up. It is wildly joyful and also painful \u2013 it opens with the bride screaming as her hair is pulled for braiding. I love the Pokrovsky Ensemble, whose sound is surely what Stravinsky had in his head from his childhood in Ukraine. <\/p><p>I\u2019ve been lucky to conduct the piece with this group several times \u2013 they recorded it with electronic instruments, and I like the blend of that sound with their voices, but it would be lovely to have recorded it with live players.<\/p><h3 class=\"wp-block-heading\"><strong>Messiaen<\/strong> <em>R\u00e9veil des oiseaux\u00a0<\/em><\/h3><p>Yvonne Loriod (piano) et al; Czech PO\/V\u00e1clav Neumann <em>Supraphon SU41332<\/em><\/p><p><strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/olivier-messiaen\">Messiaen<\/a><\/strong> is a planet \u2013 aside from the astonishing colours and dazzling harmony, he created a whole new relation between material, structure and the external world. The power is overwhelming. The first piece I heard was <em>R\u00e9veil des oiseaux <\/em>(1953)\u2013 the dawn chorus: just birds. <\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Olivier Messiaen: R\u00e9veil des Oiseaux (1953)\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/sgNeH9_8l0w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><p>The opening nightingale singing alone in the dark: I think of that as the darkness and coldness of that period after World War II. He leads you from the claustrophobia of that time into the dawn forest: newness, freedom, pure joy. <\/p><p>Any birdwatcher knows the liberation of listening to wild birds \u2013 the release from humanity into timelessness; in this piece it\u2019s common birds like thrushes, robins, woodpeckers, a cuckoo (made of\u00a0 temple-blocks) \u2013 but here they\u2019re doors to eternity.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/six-best-pieces-music-inspired-birdsong\">Birdsong in classical music: how birds have influenced and inspired the great composers<\/a><\/strong><\/li><\/ul><h3 class=\"wp-block-heading\"><strong>Sibelius<\/strong> Symphony No. 7<\/h3><p>Helsinki Philharmonic Orchestra\/Paavo Berglund\u00a0 <em>Warner 476 9512<\/em><\/p><p>I don\u2019t just believe, I <em>know<\/em> that music transforms our nervous system. <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/jean-sibelius\">Sibelius<\/a><\/strong>\u2019s Symphony No. 7 proved to me as a teen that in a large-scale structure this transformation could be total.\u00a0 If I was harbouring a dissatisfaction with some real-world inadequacy, I went home and listened to this work and was changed at a molecular level. <\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/recordings\/the-best-recordings-of-sibeliuss-symphony-no-7\">The best recordings of Sibelius&#8217;s Symphony No. 7<\/a><\/strong><\/li><\/ul><p>The music reached a hand inside me and rinsed my nervous system, restored my strength, set me free from that time and place. I think the greatest gift of art is to free us from time and place. \u00a0<\/p> <\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":"<p>By Published: Thursday, 05 September 2024 at 16:04 PM Read on to learn more about the British composer Thomas Ad\u00e8s, whose new work Aquifer is being performed at the 2024 BBC Proms. It&#8217;s getting its UK premiere with the Bavarian Radio Symphony Orchestra and conductor Simon Rattle, for Prom 61 (Thur 5 Sept). Who is [&hellip;]<\/p>\n","protected":false},"author":24,"featured_media":47099,"template":"","categories":[1,17],"acf":{"readingTimeMinutes":"8"},"uagb_featured_image_src":{"full":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/09\/thomas-ades-the-innovative-british-composer-who-expertly-mixes-modernism-and-emotional-depth.jpg",1200,800,false],"thumbnail":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/09\/thomas-ades-the-innovative-british-composer-who-expertly-mixes-modernism-and-emotional-depth-150x150.jpg",150,150,true],"medium":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/09\/thomas-ades-the-innovative-british-composer-who-expertly-mixes-modernism-and-emotional-depth-300x200.jpg",300,200,true],"medium_large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/09\/thomas-ades-the-innovative-british-composer-who-expertly-mixes-modernism-and-emotional-depth-768x512.jpg",768,512,true],"large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/09\/thomas-ades-the-innovative-british-composer-who-expertly-mixes-modernism-and-emotional-depth-1024x683.jpg",800,534,true],"1536x1536":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/09\/thomas-ades-the-innovative-british-composer-who-expertly-mixes-modernism-and-emotional-depth.jpg",1200,800,false],"2048x2048":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/09\/thomas-ades-the-innovative-british-composer-who-expertly-mixes-modernism-and-emotional-depth.jpg",1200,800,false]},"uagb_author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"uagb_comment_info":0,"uagb_excerpt":"By Published: Thursday, 05 September 2024 at 16:04 PM Read on to learn more about the British composer Thomas Ad\u00e8s, whose new work Aquifer is being performed at the 2024 BBC Proms. It&#8217;s getting its UK premiere with the Bavarian Radio Symphony Orchestra and conductor Simon Rattle, for Prom 61 (Thur 5 Sept). Who is&hellip;","_links":{"self":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed\/47098"}],"collection":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed"}],"about":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/types\/rss_feed"}],"author":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/users\/24"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media\/47099"}],"wp:attachment":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media?parent=47098"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/categories?post=47098"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}