Announcements

HCMF 2016: looking forward – Georg Friedrich Haas

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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.

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Proms 2016: looking forward (but not much)

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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

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HCMF 2015: looking forward

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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

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Fermata flautando

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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

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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

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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

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Imperfect Forms: The Music of Kenneth Kirschner

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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).

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