The launching of a new label devoted to contemporary music is something to celebrate, and the newest kid on the block is all that dust, the brainchild of composer Newton Armstrong, soprano Juliet Fraser and pianist Mark Knoop. The label’s first five releases have recently appeared, and there are a couple of things to say more generally before getting stuck into them individually. First, all that dust is a label not only concerned with the newest of the new; two of these releases are works composed in 1964, and another dates from the early ’80s. Second, all that dust is interested in digital as a valuable medium in its own right: two of the releases are only available digitally, and have been specifically engineered for binaural listening. Third, the label’s approach to presentation is slick but nicely generic, opting for abstract artwork rather than tailoring each one with something personalised. This somewhat extends to the liner notes, which while they do at least provide some context for the music are generally rather meagre and perfunctory. Overall, though, in terms of presentation what all that dust are clearly seeking to emphasise above all else is the music, indicating that we shouldn’t fuss about admiring fancy covers or reading lengthy tracts but just launch as quickly as possible into these five very different soundworlds. Hard to argue with that. Read more
all that dust: music by Morton Feldman, Matthew Shlomowitz, Séverine Ballon, Milton Babbitt and Luigi Nono
Symphony Hall, Birmingham: Iris ter Schiphorst, Richard Strauss, Gustav Holst
i had many reasons for wanting to hear last night’s National Youth Orchestra concert at Symphony Hall in Birmingham, not least of which was simply to hear NYO in action again. They are an astonishing orchestra, not merely able but mature, sensitive and abounding in talent; their rendition of Messiaen’s Turangalîla-Symphonie a few years back is a particularly vibrant memory. Beyond this, i was intrigued to hear more music by German composer Iris ter Schiphorst, whose Aus Liebe had been one of the most striking works at the Arditti Quartet’s HCMF concert last year. But most of all, i wanted to hear Richard Strauss‘ Also Sprach Zarathustra, a work i’ve known intimately since my teenage years but which i’ve never, until yesterday, had the opportunity to hear performed live.
There’s something very strange about this; the rest of Strauss’ tone poems enjoy regular performances in the UK, both at national and local level (particularly Ein Heldenleben, Till Eulenspiegel and Don Juan), but trying to find a performance of Also Sprach Zarathustra is almost impossible. In this respect, it’s completely the opposite of the other major work included in last night’s concert, Holst’s The Planets, a work so ubiquitous in the UK that it borders on the absurd. Hearing the Strauss and Holst in close proximity (a superb bit of concert programming) only makes the absence of Also Sprach in British concert halls all the more unfathomable. Read more
George Crumb – Songs, Drones and Refrains of Death
As it’s Hallowe’en, with All Saints’ and All Souls’ Days closely following (and Remembrance Day a little after that), i’m going to tap into the prevailing temporal undertone and explore a few pieces concerned one way or another with the subject of death. To begin, a piece that is wholeheartedly concerned with that subject—and which is also, i think, highly suitable in character to Hallowe’en itself, George Crumb‘s Songs, Drones and Refrains of Death, composed over a six-year period, completed in 1968. For his theme, Crumb turned once again to the poet whose words he set repeatedly through the 1960s, Federico García Lorca, utilising a curious ensemble comprising baritone, electric guitar, electric double bass, amplified piano/electric harpsichord and two percussionists. As is usual for Crumb, the players are all compelled to go beyond their regular call of duty, with everyone playing some percussion as well as singing at various points. Read more
Blasts from the Past: Aldo Clementi – Madrigale
My next blast from the past is a rather lovely work by the Italian composer Aldo Clementi, who died in 2011. Clementi’s interest in both bell-type sounds (music boxes, carillons, etc.) and the notion of self-generating music can be heard to good effect in Madrigale, composed 35 years ago, in 1979. The title would appear to reference the Italian madrigale; originating in the early 14th century, these were usually written for two voices, setting idyllic texts—typically pastoral scenes or expressions of love—and characterised by their use of decoration, particularly melismas. Clementi’s work echoes some of these aspects, composed for two pianists (piano four hands) and tape; the piano is prepared with different materials used in each octave (beyond this Clementi doesn’t make specific demands), while the tape contains a pre-recorded part played by glockenspiel and vibraphone. This combination of metallised and plasticised percussive timbres creates a rich, bejewelled soundworld akin to a large music box, which Clementi reinforces by the heavily mechanical nature of the work’s material as well as its method of execution. In essence, the tape part acts as a click track of sorts, marshalling the pianists through a strict, linear rallentando that continues throughout Madrigale‘s 9-minute duration. At first, the tempo is rapid, pianists and tape creating a dense, swirling cloud-like texture formed from cycling patterns and phrases, but after barely more than a minute the music begins its inexorable, entropic drag, falling away dynamically as its tempo approaches ever closer to zero. Read more
Morton Feldman – The Swallows of Salangan (European Première)
One of the most beguiling and enigmatic premières i’ve encountered in recent times took place at Birmingham’s Frontiers Festival in March, heard for the first time outside the USA no fewer than 54 years after its composition. There doesn’t seem to be any good reason for this considerable feat of procrastination; Morton Feldman‘s The Swallows of Salangan lasts a mere nine minutes, and even though the instrumentation is unusual—a chorus, plus 5 flutes (4 regular, 1 alto), 5 trumpets, 2 tubas, 2 pianos, 2 vibraphones and 7 cellos—it’s not something that would tax any established ensemble or orchestra. There must be another reason for such lackadaisicality, and one can’t help wondering whether it has more than a little to do with the nature of the music itself; i described it ‘beguiling and enigmatic’, but there’s equally a kind of aloof impenetrability that one can imagine many listeners might find not merely unappealing but downright off-putting. Yet if knees can be convinced to bend rather than jerk, there are—as always with Feldman—strange and unfamiliar rewards aplenty to be found. Read more
Blasts from the Past: György Ligeti – Poème symphonique
A couple of days ago marked the eighth anniversary of the death of Hungarian composer György Ligeti. To mark the event, and also begin a new occasional series on 5:4, i’d like to take a brief look back at one of the more enigmatic works of Ligeti’s career. Poème symphonique was composed in 1962, and is as much a piece of performance art as a musical composition. The performance specification is relatively straightforward: 100 mechanical metronomes are required, operated by 10 players, each metronome fully wound and set to its own tempo; all 100 are then released and allowed to tick freely until their mechanisms wind down. and that’s it, except your problems begin immediately, procuring and assembling 100 metronomes at one time and place being the most obvious. Not entirely surprisingly, the first performance triggered a fair amount of controversy, being as it was part of an official reception at the closing event of the 1963 Gaudeamus Courses and Concerts of New Music, in Hilversum, the Netherlands, an event involving local dignitaries and which was to be televised the following day. During the performance, protests broke out, and the broadcast never took place. Read more
Ferneyhough Week – Missa Brevis
From one of Brian Ferneyhough’s less familiar works i’m turning today to one of the best known, the Missa Brevis, composed in 1969. The very fact that Ferneyhough turned to a form and text so embedded in the development and consciousness of western music, so infused with associations, may seem surprising. Yet his is not a straightforward setting; in truth, it is not a “setting” at all—at least, not in any conventional sense of that term. The words are not treated so as to convey their meaning, and the work is not composed to fulfil any implied functional role; put simply, Ferneyhough’s Missa Brevis exists in an interesting friction with its connotations and legacy, as he explained in an interview with Andrew Clements:
[…] it was far from my intention to make the words of the text more audible. On the contrary, for the most part they are submerged irreparably! My choice of text was conditioned by reasons lamentably pagan: I wanted a verbal substructure which was sufficiently strong, certain of its own identity, to act as a firm counter-foil to the distortions and liberties which the exigencies of the purely musical material demanded. I had then, and still have now, a grave, in-bred suspicion of ‘text-setting’. Either a text is sufficient unto itself, or it is not worth using in a new art work anyway! In either case, such conventional notions of the relationship word/music set my teeth immediately on edge. The Missa text I took in its connotation of culture-object, not of meaning-constellation…
Ferneyhough Week – Prometheus
Today i’m going to focus on a relatively early work of Ferneyhough’s, Prometheus for wind sextet, composed in 1967. It’s not a piece that’s performed terribly often, nor is there much information about it, i suspect in part due to how early it was composed (when Ferneyhough was just 24 years old, the same year he graduated from the Royal Academy of Music). The piece seems to have been created via a decision-making process with deliberately limited options; the number of alternatives available at any given point would vary, Ferneyhough selecting from them intuitively. Prometheus is therefore a work that could have turned out entirely differently, as the composer explained in an interview with Philippe Albèra:
The score as it now exists is thus one expression of a field which could, theoretically, have produced quite a different set of results entirely. The title of the piece reflects this openness, the protean quality of my frame of reference.
Ferneyhough Week – La terre est un homme
This week sees the 70th birthday of one of the UK’s most significant composers, Brian Ferneyhough. For nearly fifty years, his music has been thrilling and discombobulating audiences in not entirely equal measure, pursuing his compositional goals with ruthless, painstaking rigour. As has long been the case with its most interesting and challenging composers, Ferneyhough’s music has never been strongly welcomed or well-received in the UK, and even the Barbican’s Total Immersion day devoted to him in 2011 essentially only comprised two concerts—to be admired of course, but not exactly an immersion, suggesting little has changed in terms of home-grown appreciation.
His music is to some extent a progression from the integral serialism arrived at by Stockhausen and Boulez in the 1950s, but only in terms of organisational precision; his work is not concerned with—indeed, is often wildly opposed to—the kind of balance that serialism seeks to explore. Multiple layers and an element of refraction—aspects of something heard in different ways from different angles, only slowly grasped, if at all—dominate the way his music presents itself. That makes it something of a formidable force from a listening perspective, and Ferneyhough himself has on numerous occasions spoken of the way he seeks to position the music always a bit ‘beyond’ the listener, inviting what he calls a kind of “meta-listening” (a term that raises more questions than it answers). Whether his music is any more ‘beyond’ an audience than many other composers’ work is debatable and in any case subjective, but regardless, one can never fail to be aware that there is very much more transpiring in a work by Ferneyhough than is immediately obvious.
The swiftest of glances at any of his scores underlines that fact; his use of notation is uniquely dense and florid, comprising the most intricately complex filigree. This aspect of his work has long proved to be the most controversial, provoking a rather tiring series of diatribes and apologias—almost always closed arguments, reinforcing existing prejudices—for the convolutions of Ferneyhough’s notational demeanour. This historically lopsided focus on the appearance of Ferneyhough’s music has no doubt been exacerbated by the lack of both available recordings and regular concert performances (my own first contact, in the mid-1990s, was almost entirely via his scores, for this very reason), a situation that has not drastically improved over the years. So as the composer approaches his 70th year, much still needs to be done. Whether 2013 will bring any efforts towards a more enlightened appraisal, or even an in-depth retrospective, remains to be seen. One can at least hope; and to that end this week on 5:4 is a celebration of Brian Ferneyhough’s music. Read more
In Memoriam: Elliott Carter – Heart, not so heavy as mine
Words by E. E. Cummings that came to mind last night following the first reports of the death of Elliott Carter, at the age of 103. i know i wasn’t alone in feeling an intensely heavy sadness at the news; one tended to think Carter was so single-mindedly alive that death couldn’t quite see the point in claiming him. But Carter is, at last, gone from us, and to mark his passing, here’s a relatively early work of his that seems rather fitting. It’s from a concert by the BBC Singers, conducted by Philippe Bach, which was broadcast in February this year.
Carter’s setting of Emily Dickinson’s poem ‘Heart, not so heavy as mine’ dates from 1938. It embraces the wistful sentiment of the words, the first two stanzas preoccupied by a single tonality (B-flat minor), as though grounded, fixed in place. As the words start to become imaginative, freed from their present isolation, Carter immediately switches to lively counterpoint and a wider harmonic palette, the voices now soaring over thoughts of birds and brooks, in a burst of reverie that’s all the more moving in light of its conclusion; for, just as it reaches a climax (“Without the knowing why”), the bass and tenor voices immediately return to the opening stanza, instantly bursting the song’s bubble. These words continue to infiltrate the optimistic coda, but Carter ultimately avoids ambivalence by letting the major tonality prevail.
It’s a piece that smiles albeit with tears in its eyes, which perhaps couldn’t be more appropriate. Very truly, a great man is gone.
Text
Heart, not so heavy as mine,
Wending late home,
As it passed my window
Whistled itself a tune,—
A careless snatch, a ballad,
A ditty of the street;
Yet to my irritated ear
An anodyne so sweet,
It was as if a bobolink,
Sauntering this way,
Carolled and mused and carolled,
Then bubbled slow away.
It was as if a chirping brook
Upon a toilsome way
Set bleeding feet to minuets
Without the knowing why.
To-morrow, night will come again,
Weary, perhaps, and sore.
Ah, bugle, by my window,
I pray you stroll once more!
In Memoriam: Hans Werner Henze – Symphony No. 5
Yesterday brought the very sad news that the composer Hans Werner Henze has died. It’s not for me to attempt an obituary—i only know a little of Henze’s life, and have only really scratched the surface of his considerable output—but by way of a small tribute, here’s a performance of his Symphony No. 5. Henze’s ten symphonies vary greatly in their scope, scale and instrumentation, and the Fifth is one of his most concise, lasting around 15 minutes. Henze composed the symphony in 1962, a year after he had relocated to the Marino region of Italy (Henze left Germany for good in the early 1950s, revolted by its politics and homophobia). The nearby city of Rome was his primary inspiration; Henze described the symphony as dealing with “dramatic portrayals of sensual conflicts and joys prompted by the sensuous happiness of 20th century Rome, its people, its countryside and surroundings, and even by its somewhat harder dialect in comparison to that of Naples where I previously lived”. Read more
Conlon Nancarrow (arr. Yvar Mikhashoff) – Study No. 7
Today is the 100th anniverary of the birth of North America’s most singularly unorthodox composer, Conlon Nancarrow. Born in Arkansas but spending most of his life in Mexico, Nancarrow’s legacy is dominated by the large number of studies he composed for the player piano. His compositional practice was a punctilious and painstaking one, establishing the rhythms and pitches of the piece and then slowly punching them as holes into the roll of piano paper—perhaps the earliest example of a composer using a ‘program’ to create instrumental music (interestingly, Nancarrow’s first such study dates from the late 1940s, the same time that computer programming was becoming a practical reality). Barely acknowledged until the last twenty years of his life, Nancarrow’s work eventually became recognised for what it is: a dazzling and entirely unique enigma, as well as the most thoroughgoing and fundamental re-evaluation and re-thinking of counterpoint since the time of J. S. Bach. Read more
Tōru Takemitsu – From me flows what you call time (UK Première)
It was on this day, in 1930, that one of my favourite composers, the great Tōru Takemitsu, was born. So to mark what would have been his 82nd birthday, here’s one of his most spectacular orchestral works, the wonderfully-named From me flows what you call time. The title is taken from a poem by the Japanese poet Makoto Ooka, titled “Clear Blue Water”:
Summer trip to Switzerland:
in our bellies, sausages
eaten on the Zermatt terrace,
foot of the Matterhorn,
slowly turns into
heat: 1000 calories each.As we climb up and up
the Furka Pass, my eyes
suddenly are perforated
by a billion particles
of heavenly blue:
across the valley a giant
mountain rampart:
The Glacier.Swinging up its snow-
crowned sky-blue fist,
that ancient water spirit
shouts:“From me
flows
what you
call Time.”Down from that colossal
mass of shining ice
flows the majestic
River Rhone.
The piece is in part inspired by the Tibetan idea of the wind horse, an allegorical conception of the human soul, familiar to many in the well-known associated sequence of five coloured flags, representative of the elements: fire (red), water (blue), earth (yellow), sky (white) and wind (green). Takemitsu makes the number five significant; the work’s principal theme is essentially a five-note motif, and in addition to the orchestra he writes for a five-piece percussion ensemble. Percussion, in fact, dominates the piece, decked out with a plethora of exotic bells, chimes, gongs, singing bowls and drums to the point that it could almost be described as a percussion concerto. Nonetheless, though, the 30-minute work displays Takemitsu’s typically fine instrumental homogeneity, every instrument seemingly directed towards a common objective, albeit an objective that is often both nebulous and fluid. Takemitsu’s penchant for strolling around gardens when contemplating new compositions makes itself felt as much in this piece as in so many of his others, moving to and between a large number of ‘scenes’ or ‘vistas’, moments when his exquisite textural vagueness abruptly coalesces into something tangible. Read more
Proms 2012: Rued Langgaard – Symphony No. 11 ‘Ixion’ & Pelle Gudmundsen-Holmgreen – Incontri (UK Premières)
In a change to the planned schedule (due to Benedict Mason not having finished his new work meld), last Saturday’s Prom featured two UK premières, both by composers rarely heard on these shores. Difficult pieces—but for different reasons—they were given marvellously lucid performances by the BBC Symphony Orchestra, conducted by Thomas Dausgaard. Read more
Jehan Alain – Trois Danses
Today marks the anniversary of the death of Jehan Alain, one of the most interesting and enigmatic French composers of the first half of the twentieth century. To me, Alain’s unique musical sensibility draws comparison with two other composers; the free-spirited, swirling exoticism and spontaneous evocations of feeling suggest Alexander Scriabin, while the introspective, at times almost mystical nature of the music (particularly in his sense of pacing and remarkable use of melody) brings to mind the deep intensity of Alain’s great contemporary, Charles Tournemire. Alain has been on my mind a great deal lately, particularly as i’ve recently finished work on a lengthy electronic piece composed in Alain’s memory. Titled Night Liminal, it’ll be released on CD in the not-too-distant future; more information about that soon. But to commemorate today, here’s a recording of one of Alain’s most fascinating compositions, the Trois Danses, originally composed for piano in 1937, when Alain was 26 years old, and arranged for organ two years later. Alain also began making an orchestral arrangement of the work but the manuscript was famously sucked from the carriage of a moving train, and tragically never recovered. Read more
