The October 2014 issue of Tempo has just dropped through the door, I think the fifth since its editorship passed from Malcolm Macdonald to Bob Gilmore last year. And it’s another good one: Gilmore is doing great stuff there. In his editorial he notes that one of the things he wanted to do with Tempo upon taking over was to shorten its remit 50 years closer to the present (ie music post-1950 rather than post-1900), and I’m liking the renewed focus very much indeed.
I’m particularly looking forward to reading Jennifer Iverson’s article on ‘Ligeti’s Dodecaphonic Requiem’, even if that is at the old end of the new music shelf. A lot of ideologically-driven guff gets spouted about Ligeti turning his back on serialism, and with it the tide of European music history towards the postmodern light. There are enough clues in the Requiem to suggest to anyone who cares to look (as Jonathan Bernard and others have briefly done before now) that this is a simplistic analysis at best, written in favour of a ‘them and us’ narrative that doesn’t reflect what composers actually did. It’s nice to see someone like Iverson sinking their teeth deep into the notes.
Tempo 270 also marks Macdonald’s passing, from cancer, earlier in the year. He was already unwell when he gave up the reins at Tempo, but after 40 years’ service at the journal, nearly all of those as its editor, I believe he felt that it was time to say farewell in any case. The issue contains a tribute from Gilmore, as well as well-chosen memorial texts from some of Tempo‘s most involved authors of recent years. In this, and in the way in which Gilmore has invigorated the journal in his still short tenure, it is a fitting tribute.