Announcements

Fermata

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Tomorrow morning, my best beloved and i are heading off on holiday for a week, so normal service will resume once i’m back. One or two articles might just appear while i’m gone, and in the meantime, if you haven’t already, be sure to express your opinion about each of the Proms premières i’ve reviewed so far over on the Polls page.

Toodle pip!

Gigs, gigs, gigs: Night Liminal; Who knows if the moon’s

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A couple of performances of my work are coming up soon. Most imminently is the #EarBox series of art and music performances organised by the University of Kent. Their next event features my 2012 ambient work Night Liminal in conjunction with a new exhibition titled Extending the Frame. It’s taking place at 1.10pm on Thursday 24 May at Studio 3 Gallery, in the University’s Jarman Building, and admission is free. Further details can be found on the University’s music department blog, and you can read all about Night Liminal here.

To mark the occasion i’ve created a 50% discount code for the digital download of Night Liminal, valid until the end of this month. Head over to the Bandcamp page and when adding to the cart enter the code earbox to get the discount.

And next month soprano Jessica Summers will be giving the world première of my song for solo voice Who knows if the moon’s. Despite lasting a mere two minutes, this little song – a setting of E. E. Cummings’ well-known poem – is a piece i once thought i’d never complete. It dates back to my undergraduate days; i broke off working on it in May 1995 following the abrupt death of my father, and could never bring myself to return to it. It then sat around for nearly two decades until i rediscovered the sketches and finally managed to complete it during my PhD at the Royal Birmingham Conservatoire. Partly because of how personal it’s become, i’ve not shown the piece to many people, but i’m delighted that Jessica will finally be performing it; it really is high time i let go of this music.

Accompanied by pianist Jelena Makarova, the concert is one of Jessica’s Living Songs recitals, and takes place at 1.15pm on 12 June at St Mary-at-Hill Church in London. The concert also includes music by Debussy and Stuart MacRae. More details can be found at the church’s website, and the Living Songs project can be followed on Twitter at @LivingSongs21.

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Electric Spring/Ambient@40

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A quick, last-minute heads-up about Huddersfield University’s annual blow-out celebrating all things electronic, Electric Spring, which starts this evening and runs until Sunday. This year’s programme is typically diverse: Philip Thomas and Colin Frank will be performing works for piano, percussion and electronics, Freida Abtan will present a 21-minute audiovisual work “inspired by the logic of dream narrative”, while Rodrigo Costanzo, Brian Crabtree and Angela Guyton will explore improvised pieces, some of which involve dynamic lighting and video. The concerts are once again supplemented with opening acts, from Aaron Cassidy, Sam Gillies, Katy Gray and Owen Green, plus a couple of late-evening shindigs from the BaconJam collective and Sebastien Lavoie. As usual, it’s a mix of names i know and plenty i don’t, so it promises to be an exciting and unpredictable adventure. All concerts are free, and start at 7:30pm in Phipps Hall, in the Creative Arts Building. Full details on the Electric Spring website.

The Saturday evening concert ties in with the Ambient@40 conference, which runs from Friday to Saturday. The conference promises to be a fascinating investigation, with a multifaceted collection of papers and performances exploring ambient from aesthetic, strategic, influential and many other angles, topped off with a keynote from none other than Ocean of Sound author and Brian Eno collaborator David Toop. The Saturday evening concert features a variety of music connected in different ways to ambient, by Robert Mackay, Rupert Till, Kristina Wolfe, Szafranski duo, Tim Howle and myself. i’ll be presenting new live versions of two of my indeterminate works, February 12, 2013, which has not been heard before, and February 24, 2013, originally created for the Imperfect Forms Kenneth Kirschner ebook project. The full programme for the conference, including abstracts for all the papers and presentations, can be viewed on the Ambient@40 website.

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5:4 on Patreon

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i’m taking a short breather from this week’s concerts and reviews from the Huddersfield Contemporary Music Festival to announce the launch of 5:4 on Patreon. It was in January 2008, almost ten years ago, that I started this blog, devoted to the most interesting, innovative and impressive contemporary and avant-garde music of our time. It all began in a pretty understated way with this article, simply sharing some recent sounds that had been catching my ear.

Since then, the blog has grown enormously, both in terms of the scope of my coverage and readership. I’ve written nearly 800 articles, including reviews of concerts and new releases, comprehensive critiques of new works, conversations with composers and performers, thematic explorations of new music, podcasts and mixtapes, retrospectives of composers and specific works/albums, and annual lists of the best music of the year.

A decade on, 5:4 is one of the very few websites committed to in-depth coverage and critique of new music. Alex Ross – music critic and author of The Rest Is Noise – has described the blog as “a powerful and uncompromising voice in the international new-music world”. My articles have been re-published in print periodicals, and are regularly quoted and cited in academic papers, articles, essays, and programme notes. The blog has therefore come to occupy a rare and important position in the discussion and outreach of contemporary music.

Personally speaking, 5:4 is now one of the most significant parts of my musical life, sitting equally alongside my activities as a composer and researcher. I love writing it; love the opportunity to introduce and explore new and unfamiliar music to a much wider audience; love being able to discover and share landmarks and pointers that help navigate a coherent way through new works; love being able to demonstrate how exciting and ground-breaking contemporary music can be, and how it can transform our understanding and preconceptions of the art.

Writing and maintaining 5:4 requires a lot of time and energy. A typical article takes anywhere from a couple of hours to a full day or more. I regard such a considered approach as this to be vital for a meaningful engagement with music. As a composer myself, I know just how much goes into the creation of even a single bar or a few seconds of sound. It deserves and needs respect and attention.

5:4 is free to read. There’s no paywall, no charges for reading certain articles, and this is how I want it to remain. And I want to take the blog much further, review a wider range of concerts and releases, record long-form dialogues with many more composers and performers, make in-depth explorations of individual pieces and albums, and create more podcasts. All of these things will expand further the contribution 5:4 makes to the discussion and understanding of contemporary music.

To do this, I need your help. With even a small donation each month, I’ll be able to bring a lot more time and ambition to the blog, and ultimately explore an even greater range of music in even more depth. So if you have found 5:4 an interesting, entertaining, useful or valuable resource over the last ten years, please do consider becoming a patron.

Thank you for your support!

Ambient@40 conference

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Next year will mark the 40th anniversary of the release of Brian Eno’s Ambient 1: Music for Airports, an album that established a manifesto, an aesthetic, an ideology and an archetype for ambient music. This is something i’m intending to celebrate and explore on 5:4 throughout 2018, but beyond this, i’m delighted to announce that at the end of next February there will be a conference devoted to ambient music, hosted by Huddersfield University, organised and chaired by Monty Adkins, Rupert Till and myself. The call for proposals was released yesterday, and the details are summarised below:

Ambient@40

Deadline: 17.00 (GMT), Friday 12th January 2018.

In the forty years since the release of Brian Eno’s Music for Airports the concept and aesthetics of ambient music have proliferated, influencing artists as diverse as Taylor Deupree, Steven Wilson, David Lynch and The Orb, infusing drone, microsound, minimalism and experimental electronic music as well as aspects of contemporary instrumental music. The aim of this two-day conference is to re-appraise ambient music in relation to Eno’s milestone release.

Ambient@40 will be hosted in the newly opened Oastler Building at the University of Huddersfield from Friday 23rd to Saturday 24th February. The programme committee invites proposals for:

a. individual papers (20 minute presentation with 10 minutes for questions and discussion);
b. performance and paper (10 minute per performance, 10 minute presentation with 10 minutes for questions).

The committee welcomes proposals from academics, independent scholars, research students and practitioners.

The conference will run alongside the Electric Spring Festival (www.electricspring.co.uk) and an evening concert on Saturday 24th February at the Festival will close the conference.

The program committee will also invite a selection of those giving papers to write them up in the months following the conference (deadline June 2018) as book chapters for publication in late 2018 / early 2019.

Submission and selection process

All proposals should be submitted to Prof. Monty Adkins (m.adkins@hud.ac.uk) by the deadline, Friday 12th January 2018 (17.00, GMT). Individual paper submissions should include an abstract (350 words) and an author biography (200 words). Performance and paper submissions should include a brief overview of the audio presentation including technical resources required (300 words), links to online samples of audio work, an abstract (350 words) and an author biography (200 words).

The committee aims to notify proposal authors of its decision by Friday 19th January 2018. Those selected will be asked to confirm their acceptance and technical setup. The full programme will be announced online and booking opened on Monday 22nd January 2018. The Ambient@40 conference registration fee will be £50 (£30 for students/concessions).

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Wandelweiser deals and mentoring

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Some Wandelweiser news. First, the label has set up a couple of juicy pre-order deals for their next round of releases, featuring works by Cyril Bondi, Hermann Meier, Eva-Maria Houben and Michael Winter: three CDs for €30, or all six for €50 (that’s £26 and £44 in real money). The deals are available until 3 December; details on the Wandelweiser website.

Second, the collective’s next ‘Composers Meet Composers’ mentoring project has just been announced. It’ll be taking place in Austria from 9–15 July 2018, with mentors Antoine Beuger, Joachim Eckl, Radu Malfatti, Michael Pisaro and Emmanuelle Waeckerle, and apparently “each participant spends one full day with each of the mentors”, which i guess implies there’ll only be space for a handful of people to take part. The fee is €800 (£714) all in; more info is here.

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Gigs, gigs, gigs: BCMG, Nordic Music Days, Alba New Music

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Having packed up for their summer break, ensembles and festivals are starting to get going again in the weeks and months ahead. Most immediately, Birmingham Contemporary Music Group is poised to pop the corks in celebration of their 30th birthday. There’s a couple of events happening in London: on 2 September at Wilton’s Music Hall – as part of the Proms season – they’ll be exploring music by John Luther Adams, Messiaen, Maxwell Davies, and Rebecca Saunders, and on 16 September at Milton Court Concert Hall they’ll be tackling familiar BCMG fare, works by Stravinsky, Birtwistle and Knussen, alongside a piece by the group’s 2015/16 Composer-in-Residence, Patrick Brennan. Most exciting, though, is the day of shenanigans that will be taking place in Birmingham on Sunday 10 September. There’s a free afternoon workshop for families, followed by a ‘canal serenade’ including music by Ondřej AdámekRichard Baker and Yannis Kyriakides, and in the evening, a concert at the CBSO Centre featuring more from Ondřej Adámek, Rebecca SaundersInto the Blue and Helmut Lachenmann‘s Zwei Gefühle – Musik mit Leonardo. It’s going to be quite a day. Full details about all these events can be found here.

Later in September, the Nordic Music Days will be making one of its only ventures ever beyond their respective countries, spending four days at the South Bank in London, from 28 September to 1 October. As you’d expect all of the music is by Nordic composers – a mouth-watering prospect in itself – and there’s a considerable amount of it, including works by Anna Þorvaldsdóttir (a chance to hear her wonderful orchestral piece Aerality), Daníel BjarnasonHanna HartmanØyvind TorvundKaija Saariaho and many, many others whose work is entirely new to me. Many of the performers will be familiar, though: the Philharmonia, Exaudi, Distractfold and the Riot Ensemble will all be taking part. There’s also a conference and seminars discussing various pertinent issues associated with contemporary music, particularly from the perspective of younger composers, in addition to various workshops, an outdoor interactive sculpture and lots more.

And in early October, Alba New Music returns for a welcome second year. Taking place on Friday 5 and Saturday 6 October, this year’s programme includes a performance of Brian Ferneyhough‘s Time and Motion Study II by the duo who created the remarkable DVD recording of the piece, Neil Heyde and Paul Archbold (their documentary about creating the recording, Electric Chair Music, will also be screened); their concert also includes Jonathan Harvey‘s AdvayaFeldman‘s Projections 1 and Helmut Lachenmann‘s Pression. Saturday afternoon brings an opportunity to hear John Wall in action, and in the evening Scottish flute-master Richard Craig will be giving the final concert in St Giles’ Cathedral, including Ferneyhough‘s 1986 bass flute and tape piece Mnemosyne. There will also be various talks elaborating and discussing the music. For more info, keep an eye on Alba’s website and Facebook page.