Search Results for: Contemporary Epics

Contemporary Epics: V/Vm – The Death of Rave

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In the last few days i’ve highlighted some impressive examples of music composed on an ‘epic’ scale. i’ve saved the biggest until last, but even by saying that, i’ve touched on an inherent danger lurking in a discussion of this kind. When any musical parameter is taken to a compositional extreme, the mere act of doing that starts to rupture a work’s integrity, as much æsthetically as practically. Let’s put it another way; what interests me so much in a …


Contemporary Epics: Robert Rich – Somnium

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In the previous few articles, it may seem as though i’ve been avoiding the very obvious elephant in the room. So let’s confront it now: large-scale musical ‘epics’ of the kind i’ve been exploring present formidable problems to the listener. Assuming one can find the time to devote to it, there’s the issue of focus, of trying to maintain some semblance of concentration for a very much longer-than-usual period of time; furthermore, attempting to hear each passing event within the …


Contemporary Epics: The Hafler Trio – Trilogy in Three Parts

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It’s impossible to speak of ‘contemporary epics’ without given especial mention to The Hafler Trio (the nom de guerre of Andrew McKenzie). While Kenneth Kirschner and Pat Maherr, discussed previously, usually restrict themselves to relatively modest durations, it’s rare for music by The Hafler Trio not to exceed an hour or more. This characteristic dates back as far as 1991, with the release of Kill the King, its single span lasting 73 minutes; the companion albums Mastery of Money (1992) …


Contemporary Epics: Indignant Senility – Blemished Breasts

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What makes Kenneth Kirschner’s “July 17, 2010” so significant—and, in my view, qualifies it as an ‘epic’—is the fact that its 2-hour duration is not subdivided into sections, or even particularly episodic (although its timbral qualities could be said to have a periodicity of roughly 20 minutes, but that’s just the way i hear it). This is what separates it from the plethora of large-scale albums that have been around for over 60 years, since the double album first came …


Contemporary Epics: Kenneth Kirschner – July 17, 2010

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Imagine yourself in a situation where you’ve agreed to listen to a piece of music, but have no idea what it is. You get yourself comfortable, and shortly before the music starts, you’re informed that the piece will last three minutes. Now imagine that situation again, but this time you’re told the duration will be 30 minutes; and now a third time, what if you were told the piece was going to last three hours? Each of those scenarios elicits …


The Hafler Trio – An Answer

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Let’s turn our attention to drones. The respective roles of time and material are perhaps nowhere more controversial – and polarising – than in drone-based music. Even if you find yourself drawn into the complexities of one form of drone, another can push you away with its relative monotony. For precisely this reason, i’ve always been fascinated by drone music, and it’s an idiom that includes some of my absolute favourite compositions. i wrote about one of them some years …


James Dillon – Nine Rivers (World Première) – 1. East 11th St NY 10003

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Having spent last week in the company of some ‘contemporary epics’, and with today being the composer’s 61st birthday, it seems an appropriate time to explore one of the most ambitious compositional endeavours of the contemporary age: James Dillon‘s Nine Rivers. i can’t be the only person for whom Nine Rivers had almost assumed the status of legend. i first read about it in the mid-1990s, in Richard Toop’s article “Four Facets of the ‘New Complexity”, published in Contact way …


Kenneth Kirschner – January 1, 2019

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It’s the first day of Lent, and also therefore the start of this year’s 5:4 Lent Series. Three years ago my focus was on miniature works, and for 2020 i’m going in the opposite direction, exploring compositions that occupy larger-scale durations. However, this is not simply about pieces that are ‘epic’ (something i’ve examined before) but more about the way time is used (by the composer) and perceived (by the listener). For that reason, in general i’m not going to …


Free internet music: Zbigniew Karkowski

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One of my absolute favourites at the most extreme end of pretty much all musical continua is Polish composer Zbigniew Karkowski. Karkowski died just over five years ago, and digesting his legacy is something i’ve been attempting to do since his passing. While there are plenty of available recordings of his work, concert performances in the UK are exceedingly rare. Graham McKenzie prominently featured his work at HCMF in 2015 and 2017, and both occasions served as a marvellous demonstration of the …


Best Albums of 2018 (Part 1)

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Right, let’s cut to the chase: forget all those other narrow, limited, parochial and partisan Best Albums lists, here’s the only list you need: my round-up of the 40 albums that have charmed, enthralled, awed and amazed me the most during 2018. In case anyone was in any doubt, it’s been a very good year.


Another Timbre: Canadian Composers Series (Part 2)

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Record label Another Timbre has recently released the five discs that comprise the second part of its Canadian Composers Series, featuring music by Alex Jang, Cassandra Miller, Lance Austin Olsen and Linda Catlin Smith. While the excellent accompanying booklet to the series (which, at over 100 pages, is more a book than a booklet) elaborates on the many points of contact and connection between the composers, it would be misleading and inaccurate to say that the music on these five discs shares …


List of albums and EPs reviewed on 5:4

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Haunted but undaunted, fading yet indefatigable: The Caretaker – Everywhere at the end of time – Stages 2 & 3

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Appropriately enough, considering this evening is Hallowe’en, i began today being haunted by ghosts. To explain: in the early hours, not sufficiently drowsy to return to sleep yet too somnolent even to begin contemplating getting out of bed, i grabbed my headphones and groped blearily on my device for something to listen to. As it turned out, these peculiar, potentially unpromising conditions could hardly have been more perfect for the album that my fingers alighted on: Everywhere at the end …


Cheltenham Music Festival 2017: Tenebrae

Posted on by 5:4 in Concerts, Festivals | 3 Comments

What is it with British contemporary choral music? i found myself asking that question constantly during the fourteen minutes of Footsteps, the work that opened last night’s Cheltenham Music Festival concert in Tewkesbury Abbey, given by the vocal ensemble Tenebrae. It perhaps goes without saying that one makes a double set of allowances when considering contemporary music for choirs. Within British life and culture, such music is focused almost entirely within the realm of religious services. If you’re thinking the …


Éliane Radigue – OCCAM RIVER XII (World Première)

Posted on by 5:4 in Anniversaries, Featured Artists, Premières | 6 Comments

This coming Sunday is French composer Éliane Radigue‘s birthday, so by way of a little celebration, i’m going to devote a long weekend to some of her more recent work. Having spent much of her life creating electronic music (exclusively composed on the ARP 2500), for the last decade-and-a-bit Radigue’s attention has been turned towards acoustic instruments. Her work is characterised by slowly-moving sound materials, often in the form of drones, becoming focused epicentres of pitch around and about which …


New releases: Duologue, OY, V/Vm

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Among the swathe of new releases currently jostling around the 5:4 jukebox, i want to start by flagging up two interesting recent releases, both serendipitous discoveries from the panning-for-gold approach to listening that is my modus operandi these days. First is Duologue, a five-piece from London whose latest EP, Memex, has initiated a host of earworms that are continuing to burrow around my subconscious at the moment. It’s an obvious place to begin, but their sound has more than a …