Oliver Knussen - Musical Life

Musical Life

Though Oliver Knussen began composing at about the age of six, it was an ITV programme about his father's work with the London Symphony Orchestra that prompted the commissioning for his first symphony (1966–1967). Aged 15, Knussen stepped in to conduct his symphony's première at the Royal Festival Hall, London, on 7 April 1968 after István Kertész fell ill. After that debut, Daniel Barenboim asked him to conduct the work's first two movements in New York a week later. In this work and his Concerto for Orchestra (1968–1970), he had quickly and fluently absorbed the influences of modernist composers Britten and Berg as well as many mid-century (largely American) symphonists, whilst displaying an unusual flair for pacing and orchestration. It was as early as the Second Symphony (1970–1971), in the words of Julian Anderson, that "Knussen's compositional personality abruptly appeared, fully formed".

Knussen has been Principal Guest Conductor of The Hague's Het Residentie Orkest (Residentie Orchestra) between 1992 and 1996, the Aldeburgh Festival's co-Artistic Director between 1983 and 1998 and the London Sinfonietta's Music Director between 1998 and 2002 – and is now that ensemble's Conductor Laureate.

Since September 2006, Knussen has been Artist-in-Association to the Birmingham Contemporary Music Group, and since 2009 to the BBC Symphony Orchestra.

His major works from the 1980s are his two "children's operas", Where the Wild Things Are and Higglety Pigglety Pop!, both libretti by Maurice Sendak – and based on Sendak's own eponymous children's books. Where the Wild Things Are received its New York premiere by New York City Opera in November 1987 and the company will revive the work in concert in April 2011.

Knussen wrote his Songs for Sue, a setting of four poems for soprano and 15-piece ensemble, as a memorial tribute to his late wife, and the music received its world première in Chicago in 2006. "...I knew there were a number of Dickinson poems addressed to her sister, Sue, so one week I read all 1,700 poems of Emily Dickinson...and I copied out about 35 of them by hand, Knussen told Tom Service in London's The Guardian I have no idea where the notes for this piece come from...It seemed to want to be written...I wasn't sure whether it...ought to be let out at all...because I didn't want it to be a self-indulgent thing. But actually it's very restrained. It's not a huge work - about 13 minutes - but it's a big piece emotionally."

His recordings as a conductor include works by Ruth Crawford Seeger.