Announcements

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

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

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.

Tags: , ,

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, Festivals, 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

Tags: ,

HCMF 2017: looking forward

Posted on by 5:4 in Announcements, Festivals | 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
Tags: ,

Proms 2017: new essay on Sounds Like Now

Posted on by 5:4 in Announcements, Festivals | 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.

Tags: ,

Proms 2017: looking forward

Posted on by 5:4 in Announcements, Festivals | 7 Comments

It’s that time again: today all the details of this year’s Proms season have been revealed. From a contemporary music perspective, there are 15 world premières – from Tom CoultRoderick WilliamsLaurent DuruptJulian AndersonBrian EliasJudith WeirPhilip Glass/Ravi Shankar (i know, just don’t), Michael GordonCheryl Frances-HoadJonathan DoveDaniel SaleebGerald Barry, Hannah KendallCatherine Lamb and Lotta Wennäkoski – and nine European/UK premières – from Harrison BirtwistlePascal DusapinAnders HillborgJames MacMillanMark-Anthony TurnageThomas LarcherAndrea Tarrodi, Erkki-Sven Tüür and Missy Mazzoli. Lots of men in those lists: women composers account for a quarter of the premières, which is an improvement on last year but otherwise not in any way an admirable statistic.

Aside from these, John Adams‘ 70th birthday year is being marked with five performances throughout the season (none of them premières, which is surprising, but in its own way a relief), there’s an event both titled and celebrating “The ‘Godlike Genius’ of Scott Walker” (a title that i fully endorse), the London Contemporary Orchestra will be teaming up with Actress for an evening of improvised who-knows-what alongside Exaudi, and there’s a sprinkling of recent works from, among others, Mark Simpson (a chance for London finally to hear The Immortal), David Sawer, Francisco Coll, Thomas Adès, David Lang, Julia Wolfe, Louis Andriessen, Kate Whitley, Wolfgang Rihm and Rebecca Saunders. Another list with a lot of men.

The full run-down of contemporary music featured in this year’s Proms season is shown below (**=world première, *=European/UK première); the number of the concert – or the venue, when outside the Royal Albert Hall; PCM = Proms Chamber Music – is shown in square brackets, and clicking on the date will take you to the relevant page on the BBC website. i leave it up to you to decide whether the title of this blog post is accurate. Read more

Tags: ,

Gigs, gigs, gigs: Royal Opera House, Cheltenham Music Festival, Louth Contemporary Music Society, Wittener Tage für neue Kammermusik, Estonian Music Days

Posted on by 5:4 in Announcements | 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 | 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 | 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.

 

Tags:

New digital EP: Studies, vol. 1

Posted on by 5:4 in Announcements, CD/Digital releases | Leave a comment

It’s been a while since my last CD release, so i’m especially pleased to announce that, a few days ago, i brought out a new EP, the first in an ongoing series. Those of you familiar with my earlier electronic work will know that there’s been a tendency to embrace extremes. My last two discs, Night Liminal and Dither • Pother • Roil exemplify that pretty strongly. For the last couple of years, my electronic music has turned away from this mode of expression, focusing instead on a more indirect, allusive type of utterance, which has its roots in one of my earliest electronic pieces, Triptych, May/July 2009, as well as the Simulated Music cycle.

This has resulted in a growing collection of Studies, pieces that primarily explore my interest in structuring sound materials from an initially visual perspective, many of which i regard as something that might be called ‘Op Music’, a sonic equivalent of Op Art. Diverse in character, some highly abstract, others moving through clear progressions and processes of evolution and development, these Studies are all entirely synthetic, sculpted from raw electronic sounds without use of existing sound materials. As in much of my earlier work, the juxtaposition of pitch and noise and the reappraisal of what defines each (and their boundaries) continue to be recurring features of these pieces.

i’ll be making a selection of these Studies available in an ongoing series of digital-only EPs, the first of which, vol. 1, is now available, from my Bandcamp site (which includes lossless) as well as iTunes and Google Play. For those of you who like to try before you buy, the EP can be streamed via Spotify (embed below).

The accompanying artwork is by the Polish generative artist Tomasz Sulej, whose work i find inspiring and very beautiful, and which makes a perfect analogue for the soundworld of the Studies.

Further volumes of these pieces will be released during the months ahead.


Tags:

Fermata

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

i’m off to Sweden to catch a few days of the Baltic Sea Festival (including the world première of Sven-David Sandström’s new opera The Performance tomorrow afternoon), so reviews of the Proms premières will continue when i’m back later next week.

Hejdå för nu…

HCMF 2016: looking forward some more

Posted on by 5:4 in Announcements, Festivals | 6 Comments

Further information has been made available today about this year’s Huddersfield Contemporary Music Festival, following the announcement in May that Georg Friedrich Haas will be the featured Composer in Residence. Predictably, there’s a great deal to get excited about. The music of Harry Partch will be making an appearance courtesy of Ensemble Musikfabrik, who’ve done so much to promote Partch over the last few years, reconstructing his vast array of weird and wonderful microtonal instruments (their rendition of his And on the Seventh Day Petals Fell in Petaluma at Bristol New Music 2014 was a dazzling testament both to the ensemble’s meticulous care/preparation as well as to Partch’s discombobulating approach to—well, pretty much everything). To expand upon this, the ensemble has commissioned composers to write for these instruments, and will be premièring several of them at this year’s festival, including an hour long work by Claudia Molitor titled Walking with Partch.

Swiss composer Alfred Zimmerlin will be bringing his Stone Orchestra to Huddersfield, and the festival’s fondness for improvisation will this year be entertained by Peter Brötzmann and Gareth Davis, the latter appearing once again in conjunction with the music of American composer/guitarist Elliott Sharp (of whose solo contrabass clarinet piece Silva Silvarum Davis gave a wonderful first performance a couple of years ago). Having brought the festival to an end in recent years, the Arditti Quartet will this time be getting it up and running with an opening night concert alongside contemporary music’s most radical nightingale, Jennifer Walshe, giving the UK première of Walshe’s Everything is Important (which, coincidentally, received its world première in Darmstadt just last night). The Ardittis will also be joining with Klangforum Wien in a concert presenting two major works by Haas, The Hyena and his brand spanking new String Quartet No. 10. The Diotima Quartet will also be appearing, performing new works by Enno Poppe and Sam Hayden, and HCMF regular Richard Uttley is back with music by Haas, Eric Wubbels and Olga Neuwirth, as well as—best of all—a new piece for Fender Rhodes piano by Michael Cutting, whose This Is Not A Faux Wood Keyboard remains a particularly memorable highlight from last year.

Throw in new and recent works from the likes of Rebecca Saunders, Liza Lim, Eva Reiter, George Lewis and John Zorn and HCMF 2016 is already shaping up to be a typically kaleidoscopic and challenging festival. It runs from Friday 18 to Sunday 27 November; full details and tickets are available from the festival website.

Tags: ,

Commemorating Milton

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

Last week saw the centenary of the birth of American composer Milton Babbitt. Babbitt continues to be a neglected figure, and personally speaking, the anniversary served to remind how little i know of his music and how rarely i’ve encountered it over the years. Those in a similar situation will no doubt be interested in the Babbitt Centenary Concert taking place tomorrow evening at the Leonard Nimoy Thalia at Symphony Space in New York. The concert, which will also be video-streamed live, is being given by the NY-based Cygnus Ensemble, and features two works of Babbitt’s – including Swan Song No. 1, written specifically for Cygnus in 2003 – alongside music by students and colleagues of Babbitt, all world premières. There’ll also be a pre-concert interview with soprano Bethany Beardslee-Winham, for whom Babbitt composed numerous works, including Philomel, Vision and Prayer (also being performed in the concert), Du, and A Solo Requiem.

The complete programme is listed below; more details can be found at the Cygnus website and the live stream (which is free) will be available at livamp.com/cygnus. The concert starts at 7:30pm local time, which means a late night for those outside the US who want to catch it as it happens, but for everyone else it’ll be available to stream afterwards at a more congenial hour.

Milton Babbitt – Swan Song No. 1 / Vision and Prayer
Charles Wuorinen – Cygnus
Paul Lansky – Just Once
Konrad Kaczmarek – Toggles and Triggers
Jonathan Dawe – Glass Harmonica
Frank Brickle – Ab nou cor / Piazza Piece / City of Orgies
David Claman – To the Master of the Meteor

 

Tags:

HCMF 2016: looking forward – Georg Friedrich Haas

Posted on by 5:4 in Announcements, Festivals | 5 Comments

It’s been announced this morning that the Composer in Residence at this year’s Huddersfield Contemporary Music Festival will be Georg Friedrich Haas. His work has been an occasional feature at HCMF in the past, nowhere more spectacularly than in the 2013 UK première of in vain, a piece concerning itself with endless states of transition, with an added air of theatricality through having all of the lights in the performance space extinguished at various points.

HCMF 2016 will include three UK premières: Klangforum Wien will present The Hyena for ensemble and narrator (featuring the composer’s wife, Mollena Williams-Haas), the Ardittis – who else? – will be performing the Ninth String Quartet, while the Hannover Trombone Unit will take on Haas’ Octet for Eight Trombones, composed last year. All three of these performances will be taking place in the opening weekend, ensuring the festival begins with a hefty wallop.

Tickets for these events will go on sale later this month. With this year’s Proms promising little more than lumbering predictability and blandness, it’s encouraging to have a much more exciting prospect on the horizon. More info about HCMF in due course.

Tags: , ,

Proms 2016: looking forward (but not much)

Posted on by 5:4 in Announcements, Festivals | 13 Comments

i’ve recently returned from a trip to Tallinn to experience some of the annual Estonian Music Days (my reviews can be read over on Bachtrack). In a bit of spare time one afternoon, i finally got around to examining the forthcoming Proms season, and i don’t think it’s entirely due to the fact i was in the midst of a genuinely bold, experimental festival that, from the perspective of new music, Proms 2016 seems so poor bordering on lamentable. In terms of quantity, contemporary music – always a tertiary concern at the Proms after 1) established repertoire and 2) the increasingly desperate need to appear ‘trendy’ – isn’t represented too badly, with 52 works scattered throughout the season (only six of which are by women composers), including 13 world and 10 UK premières. But the choices, particularly in the case of the world premières, are appallingly predictable and narrow-minded, and the less said about the decision to perform Steve Reich in Peckham’s Bold Tendencies car park the better, as it may be an all-time low for the Proms, clearly trying to imitate LCMF. It’s hard to believe the decision-makers have a meaningful grip on what’s actually going on in contemporary music; certainly, if this is indicative of David Pickard’s vision for the Proms, that vision is suffering from an extreme case of myopia. Read more

Tags: ,

HCMF 2015: looking forward

Posted on by 5:4 in Announcements, Festivals | 5 Comments

It’s November, which of course means that the annual pilgrimage to the UK’s new music mecca is only a few weeks’ away. The Huddersfield Contemporary Music Festival has this year opted for a demonstrably reflective tone, building on the remarkable performances of music by, in particular, Jakob Ullmann and Antoine Beuger a couple of years ago, which to my mind at least constituted an interesting departure from HCMF’s more conventional fare. Jakob Ullmann is this year represented by a pair of substantial new works—a half-hour solo double bass piece premièred by Dominic Lash and the 90-minute la segunda canción del ángel desaparecido—and while Beuger is absent, the festival’s composer-in-residence is Jürg Frey, who has long been associated with Beuger’s Wandelweiser Group. Five concerts provide an extensive opportunity to become immersed in Frey’s music, with major explorations being presented by Quatuor Bozzini, Ensemble Grizzana and Philip Thomas. Read more

Tags: ,

Fermata flautando

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

i’m away this week, living it up in Lincolnshire on the Rarescale composition/flute summer school. Proms reviews will continue at the weekend.

Fermata

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

i’m now heading off to Sweden for a week-and-a-bit; once i’m back, belated coverage of the Proms premières will begin.

Ses snart!

Proms 2015: looking forward

Posted on by 5:4 in Announcements, Festivals | 4 Comments

It’s that time again; the 2015 Proms season has today been unveiled, and once again offers more than a few treats for lovers of new music. That’s putting it extremely mildly; in truth, the amount of contemporary music in this year’s concerts is actually rather jaw-dropping, with no fewer than 20 world premières, plus a host of European and UK first performances and a healthy additional cluster of recent works. Having been temporarily usurped in 2014, the tradition of a world première in the opening concert has been restored, the honour this time falling to Gary Carpenter, whose new work Dadaville i would expect to provide something more meaty than the ephemeral offerings of the last few years. Encouragingly, a third of the first performances are works by women composers, including a Tallis homage from Cheryl Frances-Hoad, ensemble pieces by Shiori Usui and Birmingham Conservatoire alumnus Joanna Lee, a piano concerto from Anna Meredith, something Nordic-inspired from Alissa Firsova, and new orchestral works by Tansy Davies and Eleanor Alberga, whose Arise, Athena! will kickstart the Last Night.  Read more

Tags: ,

Imperfect Forms: The Music of Kenneth Kirschner

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

On various occasions in the past, i’ve written about the music of American experimental composer Kenneth Kirschner. His work, all electronic and available free via his website, is endlessly fascinating, exploring a wide and unexpected variety of sonic shapes and timbres within formal contexts that take a radical approach (informed in part by the music of Feldman) to notions of narrative and development, with a tendency toward indeterminate—or at least, perceptually indeterminate—structures. Kirschner’s considerable output deserves much greater exposure and engagement than it has hitherto received, which makes yesterday’s release of Imperfect Forms: The Music of Kenneth Kirschner, a multimedia project celebrating and exploring his music, extremely welcome.

There is a 188-page ebook comprising a selection of essays, articles and interviews (two contributed by me), with an accompanying 4½-hour digital album containing responses to and remixes of Kirschner’s music by an eclectic cluster of composers—Tom Hodge, Ambrose Field, Maps and Diagrams, Christoph Berg, Marco Oppedisano, Adam Barringer, Orphax, Yukitomo Hamasaki, Monty Adkins, Erdem Helvacioglu, Billy Gomberg, Tomas Phillips, Shinkei, Stefan Goldmann, Anne Guthrie, Dirk Serries, L’Eix, Stephen Vitiello, Tobias Reber, Steinbrüchel—plus an additional software-based indeterminate composition created by myself. Further to this are a small number of videos by Sawako, Monty Adkins & Julio D’Escrivan, Josh Ott, Andy Graydon and Molly Sheridan.

The project is published by Tokafi, and in keeping with Kirschner’s own approach to releasing his work, the entire kit and kaboodle are available free of charge via the Tokafi bandcamp page (of course, feel free to pay something if you can).

Tags: