Demonstrating an ability to both subscribe to and question aesthetic and formal conventions, the music of Thomas Adès has become synonymous with a particular brand of complexity;various multiplicities – stylistic, temporal, semantic – characterise the discourses that both pervade and surround his works. This might help explain the fractured critical response to Dawn, a ‘chacony for orchestra at any distance’, premièred at the 2020 BBC Proms: a seven-minute unfurling passacaglia of stark simplicity. Mixed reviews have presupposed rationales ranging from bold aesthetic choice to deadline-induced haste. This article considers Dawn within Adès's continuing exploration of the different formal, aesthetic and semantic roles that musical simplicity can play. Here, his previous utilisation of simplicity at points of formal crux allows a reframing of the work as a compositional response to real-world crisis that, beneath its surface, presents an intriguing affinity with – and recontextualisation of – fundamental aspects of his compositional character.
A New Dawn? Thomas Adès and the Case of Musical Simplicity