Announcements

Fermata

Posted on by 5:4 in Announcements | Leave a comment

i forgot to say: i’m now on holiday for a little while, so normal service will resume next week. In the meantime, if you haven’t already, make sure you have your say about each and every one of the previous Proms premières on the Polls page.

Toodle pip.

HCMF 2017: complete programme

Posted on by 5:4 in Announcements, HCMF, Premières | Leave a comment

Here it is at last, announced in the last few minutes is the complete programme for this year’s 40 edition of the Huddersfield Contemporary Music Festival, which begins in a little under four months’ time, running from Friday 17–Sunday 26 November. In addition to the highlights i’ve previously mentioned, there’s a huge amount to look forward to; among my personal highlights are an interpretation of Lou Reed‘s Metal Machine Music for strings, horns and percussion, alongside a new work (which should presumably fit right in) by Kasper Toeplitz, and zeitkratzer‘s interpretations of Kraftwerk‘s first two albums will receive their only UK live performance. Dai Fujikura‘s new piece for the Polish Radio Choir is titled Sawasawa, forming a second part after Zawazawa (written last year for the Philharmonic Chorus of Tokyo). Swedish violinist Karin Hellqvist will be performing works by, among others, Malin Bång and Natasha Barrett, and there’s a large-scale new piece from Rolf Hind inspired by Hindu writings; considering how impressive was his 2015 work Tiger’s Nest, this promises to be something rather special. The guitar quartet Zwerm will be presenting ‘tableaux’ by Christopher Trapani and Alexander Schubert, while Spanish guitarist Clara de Asis will be presenting a 40-minute work for modified guitar by D’incise (Laurent Peter). Explore Ensemble – who made a hugely impressive HCMF debut last year in Gérard Grisey’s Talea – are back with music by three composers i’m unfamiliar with (which only makes it more enticing), Patricia AlessandriniSteven Daverson and Fausto Romitelli. John Butcher‘s also back in a concert with Austrian group Polweschsel and composer Klaus Lang at the console of St Paul’s Hall’s organ, and at the same console will be Kit Downes, performing some of the works from his album Obsidian. It’ll be good – having seen an assortment of pugilistic related tweets a while back – to have the opportunity to experience Laura Bowler‘s Fight (Not Flight), performed by Bowler with Ensemble PHACE, and another composer/performer, Laura Cannell, will be presenting her semi-improvised exploration of ‘physical and emotional boundaries and liminal landscapes’, FEATHERS UNFURLED.

These are just some of the many, many exciting things to have initially caught my eye – as usual, every day has its fair share of unmissable items – and while i’ve not had time to crunch any numbers yet, it looks at first glance as though the representation of women composers has considerably increased this year, something HCMF has been needing to do.

Below is a complete rundown of what’s happening (* = UK première, ** = world première); for more information, head over to the HCMF website, tickets go on sale tomorrow. Read more

HCMF 2017: looking forward

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

i’ve just returned from a few days in Poland, and before i get started on catch-up reviews of Cheltenham and the Proms, at a press conference in Warsaw a couple of days ago a slew of new announcements were made about this year’s 40th edition of the Huddersfield Contemporary Music Festival. Last month, it was announced that there’s to be the world première of a large-scale new piece by James Dillon performed by his compatriots Red Note Ensemble, as well as the first UK performance of Brian Ferneyhough‘s even more large-scale work for string quartet and ensemble Umbrations, by Ensemble Modern and the Arditti Quartet (my review of the world première is here). There are also going to be concerts focusing on Linda Catlin Smith, featured in the first part of Another Timbre’s recent Canadian Composer Series, and the late Pauline Oliveros; each composer’s music is explored in two concerts, Smith’s by pianist Eve Egoyan and Philip Thomas with the Bozzini Quartet, Oliveros’ by Riot Ensemble and the combined forces of ICE Ensemble, Distractfold and the wonder that is Fritz Hauser.

Newly-announced on Monday are events pertaining to the ongoing collaboration HCMF has had with Polish music since 2015, now entering its third and final year. This October marks the 60th anniversary of the Polish Radio Experimental Studio, the work of which is going to be celebrated in an audio-visual exhibition at Huddersfield Art Gallery running for the duration of the festival, in addition to a series of accompanying talks and performances. Music by one of the Studio’s key figures, Bohdan Mazurek, will be presented in a pair of late-night concerts in Bates Mill Photographic Studio, given by Jacek Sienkiewicz and Valerio Tricoli respectively. Also in the Photographic Studio will be a laptop and tape concert by German musician Thomas Lehn, performing music by Bogusław Schaeffer. Beyond this, there’s another extremely rare opportunity for UK audiences to hear Zbigniew Karkowski‘s music: his 40-minute work Encumbrance, for voices and electronics, will be performed by Gęba vocal ensemble, in addition to music by Kryzysztof Knittel and Antoni Beksiak. Dai Fujikura has written a new piece for the Polish Radio Choir, the second of a two-part work, which will be receiving its first performance in this complete version, alongside works by Polish composers Wojtek Blecharz (about whose Body-opera i shall soon be writing) and Agata Zubel, and Riot Ensemble will also be performing a new work by Nikolet Burzynska.

So, here’s how the festival looks so far (some times/locations still to be confirmed); more info coming soon.

Friday 17
  • James Dillon: new work (World Première) / Red Note Ensemble (St Paul’s Hall)
Saturday 18
  • Brian Ferneyhough: Umbrations (UK Première) / Ensemble Modern & Arditti Quartet (St Paul’s Hall)
  • Focus on Linda Catlin Smith / Eve Egoyan
  • 23:30 Jacek Sienkiewitcz (electronics) plays Bohdan Mazurek (World Première) (Bates Mill Photographic Studio)
Sunday 19
  • Focus on Linda Catlin Smith / Philip Thomas & Bozzini Quartet
  • 15:00 Dai Fujikura – two-part work (Part 1 – UK Première, Part 2 – World Première), works by Wojtek Blecharz & Agata Zubel / Polish Radio Choir (Huddersfield Town Hall)
Tuesday 21
  • 17:00 Zbigniew Karkowski – Encumbrance (UK Première), works by Kryzysztof Knittel and Antoni Beksiak / Gęba Vocal Ensemble (St Paul’s Hall)
Thursday 23
  • 21:30 Thomas Lehn (laptop & tape) plays Bogusław Schaeffer (Bates Mill Photographic Studio)
Friday 24
  • 17:00 programme includes Nikolet Burzynska – new work (World Première) / The Riot Ensemble (St Paul’s Hall)
  • 23:30 Valerio Tricoli (electronics) plays Bohdan Mazurek (World Premiere) (Bates Mill Photographic Studio)
Saturday 25
  • Focus on Pauline Oliveros / ICE Ensemble, Distractfold & Fritz Hauser
  • Focus on Pauline Oliveros / The Riot Ensemble

Proms 2017: new essay on Sounds Like Now

Posted on by 5:4 in Announcements, Proms | Leave a comment

The 2017 Proms season is fast approaching, and in anticipation of this i’ve contributed an essay to the July edition of online journal Sounds Like Now. The essay focuses specifically on the way contemporary music has been and continues to be represented at the Proms, exploring a number of themes with which regular readers of 5:4 will be familiar, concerns of both quantity and equality – particularly the representation (or otherwise) of women and the involvement (or otherwise) of electronics – all placed within the context of why the Proms was originally founded.

Sounds Like Now is subscription only, but subscribers can find the essay here.

Gigs, gigs, gigs: Spring 2017

Posted on by 5:4 in Announcements, Concerts | Leave a comment

There are lots of exciting events coming up in the next few months, approaching new music from a plethora of different angles.

Next month the Royal Opera House will be giving the first UK performances of Thomas AdèsThe Exterminating Angel, based on Luis Buñuel’s splendidly off-kilter movie. Premièred last summer in Salzburg, it’ll be receiving half a dozen performances at Covent Garden from late April to Early May. With a libretto by Tom Cairns, featuring the likes of (among many others) Anne Sofie von Otter, Christine Rice, Sophie Bevan, John Tomlinson and Thomas Allen, and directed by the composer, it should prove quite a spectacle. Well over a decade after witnessing the first performance of Adès’ last opera, The Tempest, i’m still somewhat in two minds about it, so it’ll be fascinating to see where he’s coming from in this new operatic work.

The Another Timbre label is taking over Café Oto for three days at the start of May, with a series of concerts to tie-in with their new five-disc set of music by Canadian Composers (a review of these is coming soon). Works by Linda Catlin Smith, Isaiah Ceccarelli, Marc Sabat, Martin Arnold and Chiyoko Szlavnics will all be featured in these concerts, plus a couple of pieces by fellow Canadian Cassandra Miller and not-remotely-Canadian Jürg Frey. Tickets are £8 a pop or £21 for the lot.

Looking ahead to July, the details of this year’s Cheltenham Music Festival have been announced this week. The festival’s engagement with contemporary music – which, let’s remember, was its original purpose – has become highly tenuous in recent years, but there’s one or two concerts to look forward to. At the safer end of the spectrum, Estonia’s E STuudio Chamber Choir will be showing there’s more to their country than just Arvo Pärt, also featuring music by Estonians Cyrillus Kreek and Veljo Tormis. As someone who’s spent a fair bit of time with Estonian music during the last year, this is going to be good (though, fair warning, you’ll also need to contend with some Whitacre). Pianist William Howard is performing a recital titled ‘Love Songs’, including works by Cheryl Frances-Hoad, Piers Hellawell, Howard Skempton, Joby Talbot, Judith Weir and Michael Zev Gordon, a number of them receiving first performances. Joby Talbot’s music is also being performed by vocal ensemble Tenebrae, presenting his hour-long Path of Miracles. And towards the end of the festival, the Piatti Quartet will be presenting music by Joseph Phibbs and Mark-Anthony Turnage plus a new work from Darren Bloom. There are other assorted new works dotted elsewhere, and as ever there’s the annual Composer Academy for early-career composers, this year being mentored by Michael Zev Gordon.

And there are some extremely interesting events beyond these shores. Next month, Louth Contemporary Music Society is presenting the world première of James Dillon‘s latest piece, The Louth Work: Orphic Fragments. A work for soprano and a small ensemble of five players, as the title implies Dillon has drawn on ancient texts attributed to Orpheus, alongside poetry from the father of the sonnet, Petrarch, Apollinaire and Beat poet Allen Ginsberg. The concert is being given by Crash Ensemble with soprano Peyee Chen, who will also be performing a rendition of the Three Songs by Ukeoirn O’Connor (actually by Jennifer Walshe), of which Chen gave a fittingly weird and wonderful performance at last year’s Alba New Music festival. Taking place as part of the Drogheda Arts Festival, on Ireland’s east coast, the concert is on Saturday 29 April in St Peter’s Church and tickets are a measly €10.

And in May there’ll be the annual Wittener Tage für neue Kammermusik, which i’ll be experiencing for the first time. This year’s sextet of concerts is jam-packed with exciting propositions: i’m particularly looking forward to three premières: Brian Ferneyhough‘s Umbrations, The Tye Cycle by the Ardittis, Paul Hübner and the JACK Quartet performing Timothy McCormack‘s Your Body is a Volume and Clara Iannotta‘s piano and ensemble piece Paw-marks in wet cement. Above all, though, it’ll just be great to have the opportunity to encounter totally unexpected music from composers whose work is entirely unknown to me. That’s definitely not something we get sufficient opportunities to do in Britain.

Apropos: i’ll be heading off to Tallinn again early next month for the Estonian Music Days. The festival’s engagement with new music is exceptionally diverse and forward-looking, very much more so than we usually encounter here in the UK. Among this year’s highlights: vocal group Vox Clamantis who (foreshadowing E STuudio Chamber Choir’s Cheltenham gig) will also be performing Pärt and Kreek, together with a new work from Galina Gregorieva; the first performance of Peeter Vähi‘s An April Night’s Dream for keyboards, percussion, phonogram and city sounds will be taking place in the late evening on the roof of the Estonian National Opera house(!); and the Estonian Philharmonic Chamber Choir will be giving a thoroughly eclectic concert of works by Jonathan HarveyLigeti and Sciarrino alongside premières from local composers Tatjana Kozlova-JohannesEvelin Seppar and Mirjam Tally. But i suspect the biggest highlight of all will be the event given by the country’s National Symphony Orchestra, in an all-Estonian programme featuring three world premières together with the Fourth Symphony by the great Lepo Sumera as well as Erkki-Sven Tüür‘s Cello Concerto. It’ll no doubt be absolutely exhausting, but wonderful. They really know how to do a music festival in Tallinn.

Tags: , , , , , , , , , , , , , , ,

Studies vol. 3/Electric Spring

Posted on by 5:4 in Announcements, CD/Digital releases, i | 3 Comments

A couple of electronic music announcements. First, if you’ll forgive the self-pluggery, i’m pleased to announce that the third volume of my ongoing series of Studies is now available. (Many thanks to all of you who have purchased volumes 1 and 2.) The Studies explore my interest in structuring sound materials from an initially visual perspective, an approach i describe as ‘Op music’, a sonic equivalent of Op art. The three studies on Vol. 3 are highly diverse. No. 12 is an exploration of near parallel pitch movement, resulting in shepard tone-like sequences and a shifting, paradoxical sense of stasis and movement. No. 13 examines the juxtaposition of freely-evolving sounds within an imposed metric system, positioning quasi-random clouds of pitch within an grid-like arrangement. Vol. 3 ends with my longest study to date, No. 10. Its 14-minute duration begins with a vast number of tightly packed pitch bands, moving as one; over time, these gradually drift out of alignment, resulting in complex waves and patterns of harmonic distribution and introducing elements of implied melody. The work is complicated further by a central episode, the noise of which permeates this process and threatens to disrupt it from within.

Studies vol. 3 is a digital-only EP, available via Bandcamp. The accompanying artwork has again been created by the marvellous Polish generative artist Tomasz Sulej (folds2d.tumblr.com). All three pieces can be streamed below.

Second, more importantly, Huddersfield University’s annual Electric Spring festival kicks off this Wednesday, running until Sunday. Once again it features a typically diverse collection of composers, many of whom are happily new to me. Alex McLean and Dave Smith will be performing improvisations, Mark Lyken & Emma Dove are presenting their film Mirror Lands, Argentine composer Beatriz Ferreyra (well-known particularly for her work composed as part of Pierre Schaeffer’s Groupe de Recherches Musicales) is represented in three electronic works including her brand new 16-channel work Los senderos de luz y sombras, premièred last month in Paris, and Richard Scott will bring the festival to an end with a suite of analogue synth pieces. These concerts are supplemented with opening acts from Tadej DroljcDemelza Kooij & Lars Koens, Geoff Cox & Keith MarleyFrédéric DufeuSolomiya Moroz & Marko Ivic and Elías Merino. Each concert

All are preceded by pre-concert talks, and there’s a keynote talk from filmmaker Andrew Kötting. There are two additional late night concerts on Friday and Saturday nights, and throughout the festival there’s an interactive installation by Stewart Worthy called Speaker Grid situated in the Creative Arts Building’s large atrium. Everything is free – everything – so it’s a fabulous opportunity for some really new sonic experiences. i’ll be there for the duration, and will be reviewing as much as i can. Full details are available on the Electric Spring website, where you can also download the festival programme.

 

Tags: , , , ,

Gigs, gigs, gigs: Alba New Music

Posted on by 5:4 in Announcements, Concerts | Leave a comment

A quick heads-up about a forthcoming mini festival that will, i’m sure, turn out to pack a punch inversely proportional to its duration. Alba New Music is a new Scottish charity “devoted to celebrating the sonic avant garde”. Following a couple of one-off gigs earlier this year, they’re launching their first weekend of concerts, which will take place in Edinburgh on Friday 7 and Saturday 8 October. The line-up/repertoire is lip-smackingly inviting: on the Friday evening, Huddersfield guitar hero Diego Castro Magas will be giving a recital including music by Wieland Hoban and Richard Barrett alongside two works by Aaron CassidyThe Pleats of Matter (which i found positively ear-boggling back at Electric Spring 2015) and the first UK performance of the electronics-only permutation of The wreck of former boundaries. Saturday is crammed with three events, starting with a free lunchtime concert by Edinburgh Experimental Musicians, including a diverse mix of pieces by John Hails, John Cage, Yoko Ono, Robert Ashley and Pauline Oliveros. In the early evening, flautist Richard Craig will be performing music by James Dillon, Brian Ferneyhough and Fabrice Fitch, followed later by singer Peyee Chen, who’ll be getting her teeth stuck into works by George Aperghis, Michael Finnissy, Erin Gee, Scott McLaughlin and Jennifer Walshe.

Talk about hitting the ground running – it promises to be a fantastic and pretty intense couple of days. The main concerts are £8 a pop or you can do a triple-whammy for just £20. Full details on the Alba New Music website. i’ll be there trying to get my head around it all, so reviews to follow in due course.