Colin Matthews’ New Work and Its Great Title, 'Nowhere to Hide'

Some composers are good at titles for their music. Others aren't.

Most don't bother, as Classicalite reflects when we hear that so-and-so has written his "Symphony No. 1." Aren't there one or two or those around already?

British composer Colin Matthews borrowed from the best with his latest piano trio, which was premièred at the Cheltenham Music Festival. Matthews' newest piece is called Nowhere to Hide.

Catchy title, one inspired by John Adams, he of Short Ride in a Fast Machine, Shaker Loops and Son of Chamber Symphony. Matthews explains in the press release: "Titles are rarely easy to come by, and I was reluctant to use the conventional but prosaic 'Piano Trio' for this work, so when a chance remark to John Adams about the problems of writing for piano trios met with the laconic response, 'nowhere to hide,' I seized gratefully on his wise words."

Matthews goes on, in charmingly self-deprecating form. "John Adams was quite right about one particular aspect of writing for this particular ensemble; but of course there's also an extremely distinguished body of work already in existence to which it's advisable not to listen while trying to add to it."

Nowhere To Hide received its première with the Schubert Ensemble on July 5.

Matthews' work does, though, prompt some thoughts on the better titles for new pieces of classical music in recent years. Some composers manage to be both evocative in their titles and talented in their music.

Tarik O'Regan, for instance, did very well with 2011's Beloved, all things ceased, from the title point of view. Trombonist and composer Jörgen van Rijen also delivered a memorable one with his piece, I was like Wow! (the words of an American soldier depicting his violent experiences in Iraq).

Undance by Mark-Anthony Turnage is pretty cool, though even that is bested by his earlier work, Blood on the Floor. I Drink the Air Before Me was instantly memorable for Nico Muhly in 2009, the work that helped to bring him to international attention. And speaking of Muhly, Philip Glass has his great moments--Einstein on the Beach, anyone?

But the big daddy of them all in the title stakes is still John Adams: I Was Looking at the Ceiling and Then I Saw the Sky, City Noir, The Dharma at Big Sur...after those, who can go back to "String Quartet No. 3?"