i was surprised to realise recently that, apart from a CD review last year, the penultimate composer in my Lent Series, Liza Lim, has not yet been featured on 5:4. That’s a pretty serious omission, one that i hope will be mitigated by celebrating her 2009 work for solo cello, Invisibility. Too many discussions about new music get distracted by the shedloads of technical tomfoolery encasing the music (frequently as a substitute for content, activity masquerading as achievement). In the case of Invisibility, however, one can only begin by examining a technical aspect of the work—but an aspect that informs the work at every level, from the exotic surface right down to its firmament. Read more
Back to the Lent Series, & a work by the Japanese composer Misato Mochizuki. Mochizuki’s compositional outlook encompasses both east & west, perhaps a by-product of periods of study in Tokyo & Paris (at IRCAM, where she studied with Tristan Murail). For the last five years, Mochizuki has taught at Meiji Gakuin University in Tokyo, but her work continues to be performed regularly in France. She’s a bit of an unknown quantity in the UK, but that situation may improve with the release a few days ago of a new CD of her music on the NEOS label. Meanwhile, here’s a highly effective, slow-burning orchestral work of Mochizuki’s, performed at last year’s Total Immersion day celebrating contemporary Japanese music.
There’s an interesting small addendum to be made to my article a couple of days ago, reviewing recent CDs. i commented that LSO Live has released the world première performance of Mark-Anthony Turnage’s large-scale orchestral work Speranza, but what the disc doesn’t contain is the entirety of the piece as heard on that first occasion. Anyone in the concert hall or who (like me) heard the live broadcast may be forgiven for feeling some dismay at discovering one of the most curious but lovely parts of the piece to be entirely absent from the CD release. Turnage initially conceived Speranza in five movements, each titled with the word ‘hope’ in different languages, & it’s the original fourth movement, L’espoir, which he appears to have decided to excise from the work. Considering the pair of interviews i’ve heard where Turnage discusses Speranza, one could perhaps have seen this coming; on both occasions (once prior to the performance, the other on the BBC’s The Strand Archive), Turnage’s description of the five movements rather skirts over the fourth, almost apologising for it, both in terms of compositional individuality—with reference to the use of borrowed melodies, which Turnage states “I did nothing to actually”—& also aesthetic, essentially dismissing it as “a real moody piece … more of a textural piece, which is unusual for me, just chords & rather desolate tunes”. Read more
Alongside the collection of impressive soloistic new releases i recently reviewed, several new CDs of orchestral & ensemble music have emerged lately. One of the most surprising, from an aesthetic perspective, is the latest disc of Mark-Anthony Turnage‘s music released by LSO Live. The surprise is encapsulated in the titles of the two works on the CD, Speranza & From the Wreckage, both titles that are inherently optimistic in outlook. For a composer who has hitherto created countless works from mining deep seams of despair & desolation, this is quite the volte face, but as Turnage himself commented prior to Speranza‘s first performance last year, it’s all too easy self-indulgently to “wallow in misery & darkness”. That’s not to suggest Turnage’s tone in these works is chipper, exactly, but there is, particularly in parts of From the Wreckage, a spring in the music’s step of a thoroughly different kind from the grotesque forms of bounce & stumble more common in his output. Beyond this, there’s a quite deliberate move towards that most disquieting concept for the avant garde, accessibility. From the Wreckage—a work that’s by no means as blasted as its title suggests—conjures up majestic sweeping vistas, & even when it lurches into more violent territory, it’s more obstreperous than angry, smarting rather than wounded. Read more
The next piece in my Lent Series is by German composer Brigitta Muntendorf, based in Cologne. Muntendorf’s work is heavily characterised by overt theatricality; three years ago, in Salzburg, Muntendorf premièred her first music theatre work Wer zum Teufel ist Gerty (YouTube), followed last year by Endlich Opfer, more substantial but nonetheless described by the composer as a “pocket opera”. In between the two, Muntendorf composed a remarkable electroacoustic piece for voice, mono loudspeaker & ensemble of eight players titled Sweetheart, Goodbye!. Her starting point was a chapter from James Joyce’s Ulysses, not so much ‘set’ as dramatised—the score specifies that the ideal vocalist would be “an actress with vocal training” rather than a singer—a process Muntendorf likens to “playing with emotions as material”. Read more
It’s been two years since we’ve had one of these, so the new 5:4 mix tape is another of the mystery variety. Once again, no hints whatsoever about the music contained herein—although regular readers really ought to know a few of the tracks—but if anyone sufficiently bright & sparky knows all 28 of them, i’ll gladly dish out some CDs as a prize. & before you fire it up, Shazam really won’t help you very much. Enjoy!
MP3 [1:29:57 | 146Mb]
We’re back in Ireland for the next in my Lent Series devoted to music by women composers. Linda Buckley comes from the wonderfully-named Old Head of Kinsale, in County Cork. Her studies have centred around Trinity College Dublin, where she completed her PhD & now lectures. Buckley composes intrumental & electronic music, which appear to be characterised by what i can only describe as a kind of intense radiance, incorporating an overt triadic impulse & also strong tendencies toward the microtonal. Put simply, she makes the pitch domain shine in a way that both comforts & blanches, a quality that permeates her sumptuous 2011 orchestral work chiyo. Read more