CD/Digital releases

New releases: Stefan Fraunberger, Michael Moser, Morton Feldman, John Wall

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Easily the most sonically remarkable new release to have passed through the jukebox in the last month or so is Quellgeister #2 ‘Wurmloch’ by the Austrian sound artist Stefan Fraunberger. This ongoing series of works (#1 came out two years ago, #3 is in progress) focuses on what Fraunberger summarises as “semi-ruined organs discovered in deserted Saxon churches in Transylvania”. Precisely what he does with these dilapidated organs isn’t entirely clear, but the result is that of a Frankenstein-like in extremis battle to resurrect the instrument and enable it, for one final time, to speak. Aural narratives really don’t come more stunningly heroic than this. Having wheezed into life, the organ’s reanimated corpse unleashes barrages of chords that constantly sound unnaturally forced, only sustaining as long as its innards are being ‘squeezed’ (try singing a note for far too long and you’ll get the idea). Weird tangential pitches and upper harmonics regularly bleach these chords, even occasionally suggesting there’s a melody trying to escape from beyond the grave; elsewhere the struggle (for both man and machine) becomes so intense that vast dissonant slabs of compressed noise erupt. On the one hand, it’s shambolic and desperate, but there’s an uncanny beauty both to Fraunberger’s seemingly absurd actions and to the, frankly, amazing results. Read more

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New releases: Helmut Lachenmann – Ausklang; »… Zwei Gefühle …«, Musik mit Leonardo; Schreiben

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i’ve been catching up lately with some of the more recent releases from NEOS, who for a long time have distinguished themselves as not just one of the most forward-looking labels, but easily one of the most fecund, putting out at least one major release every month, often in the form of absurdly impressive box sets. Among this acute embarrassment of riches are a pair of discs featuring music by Helmut Lachenmann, recorded at the 2014 Musiva Viva weekend. Both of them are refreshing, challenging and mesmerising in roughly equal measure, and are highly recommended.

The first is devoted to Lachenmann’s 1985 work Ausklang, the subtitle of which – “music for piano and orchestra” – indicates it to be not exactly adhering to conventional notions of the concerto. It’s nothing of the kind, in fact, exploring instead the idea of sustaining sounds from the piano beyond their natural resonance, or as Lachenmann puts it, a “variety of attempts to prevent the material set in vibration by an impulse … from dying away”. That makes Ausklang sound pretty straightforward, but it really isn’t. The relationship between piano and orchestra is not inherently hierarchical, actions from the former being responded to by the latter. The orchestra (which includes a piano of its own) often can be heard to anticipate, foreshadow or even inspire ideas that then transpire in modified form on the solo instrument. And while there are of course a multitude of instances where pitch, rhythm and other aspects of musical behaviour are resonated, echoed, imitated and otherwise extended by the orchestra, to say that these instances are always obvious, clear or even apparent would be wrong. Indeed, there are several occasions when the music appears to occupy two simultaneous layers, undertaking more of a duet than a back-and-forth. So the emergent complexities of Lachenmann’s rather simply stated intentions are considerable. Read more

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New releases: Monty Adkins & Terri Hron, Åke Parmerud, Francis Dhomont

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The latest crop of releases from Canadian label Empreintes DIGITALes has proved as thought-provoking as ever, offering extremely diverse approaches to electronic music, with similarly varied results. Léptidoptères, a new 40-minute cycle of music by composer Monty Adkins in collaboration with recorder player Terri Hron, takes its inspiration, as the name implies, from families of butterflies and moths. The relationship between the various recorders used and the electronic sounds is deliberately flexible, allowing Hron scope for improvisation both materially and structurally. Selections from a distinct palette of sounds are triggered randomly, creating a ‘habitat’ for Hron, which are subsequently shaped by envelopes that, in Adkins’ words, “focus on specific families or combinations of families of sounds”. The first thing to say is that Léptidoptères is generally at some remove from the ambient aesthetic that’s characterised the majority of Adkins’ work in recent years. That in itself is a welcome and interesting development. In its place is a soundworld more spontaneous and unpredictable, where one’s listening focus is drawn primarily to the shifting, moment-by-moment articulations and textural shadings. The relationship between acoustic and electronic is well-balanced, neither predominating overall, taking turns to assume predominance in the foreground. Read more

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New releases: Olga Neuwirth – Goodnight Mommy (Original Soundtrack)

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Despite being a complete movie addict, as well as having nurtured a fascination with soundtracks since i was a boy, movie scores rarely get discussed on 5:4. There have been notable exceptions, and some invariably find their way onto my annual best album lists, but i often find myself pondering whether, despite my love for them, there’s usually something qualitatively inferior about them. To clarify, i don’t believe that film soundtracks, by necessity or nature, are inherently inferior; there’s certainly no reason why they should be, despite the fact that they are, first and foremost, serving a very clear functional role, working in conjunction with visual elements, mise en scène, sound design, narrative and the like, elements usually irrelevant within the concert hall. In this respect, it’s perhaps unreasonable to expect a film score to prove engaging when heard in its own right, away from these elements. But the best of them don’t merely survive such decontextualisation, they thrive, providing an analogue of sorts of the movie, embodying a more intangible yet no less cogent kind of transposed narrative. In other words, they no longer necessarily follow the chronology of the film’s storyline (many soundtracks, indeed, are not arranged in ‘story order’ but are configured for a satisfying aural experience), offering instead a sequence of portraits, sonic windows into its characters and their situations. Calling them ‘mood pieces’ would be to sell them short, yet there’s more than a whiff of truth to that. Read more

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New releases: Michael Finnissy – WAM

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The other recent release dedicated to Michael Finnissy‘s music is the product of a collaboration between the composer and clarinettist Michael Norsworthy. WAM, released on US label New Focus Recordings, explores five works composed during the last 25 years, three of them written specifically for Norsworthy, and all but one of which are recorded here for the first time. The main theme, for want of a better word, running through the collection is an examination of what constitutes a meaningful musical ‘connection’ between discrete performers and types of material. With respect to individuated, partially- or wholly-asynchronous parts, this has been a recurring feature throughout Finnissy’s career (manifesting in many of the works covered in my recent Lent Series), and this disc clarifies the concomitant fact that sense and/or coherence become very much more subjective and potentially problematic within such a context. Read more

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New releases: Michael Finnissy – Singular Voices

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What with 2016 being Michael Finnissy‘s 70th year, it’s heartening to see some new releases celebrating his work. Throughout his career, no label has done more to champion Finnissy than Metier, whose latest CD Singular Voices, released yesterday, is their twelfth devoted to Finnissy’s music (i’ll be exploring the rest in future articles). Recorded over a decade ago, the disc features a variety of works for soprano with and without clarinet and/or piano, performed by Clare Lesser, Carl Rosman and David Lesser respectively. The works date from a wide period of time, the earliest from a collection of 18 songs composed from 1966–78, the most recent from 1990, but a sense of both consistency and even continuity can be perceived throughout. This is clearly all music by the same composer. Read more

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New releases: Anders Hillborg, Hans Abrahamsen

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Continuing with Scandinavian new releases, a new disc from Bis featuring four works by Anders Hillborg is a real treat. It’s a generalisation, of course, but the focus of Hillborg’s music tends to be on the surface, and this understandably polarises listeners. Usually, the successes of this approach come out on top, and it’s therefore a genuine surprise to hear the main work on the disc, Sirens, not just falling short, but entirely failing. Using a text drawn from Homer, Hillborg’s setting utilises two soprano soloists, mixed choir and orchestra, and you’d be forgiven through the opening minutes for thinking that the most remarkable mise-en-scène was being established. It is unquestionably striking, but once the choir has entered, and a few minutes later the soloists, it soon becomes clear that nothing is being set up, we’re there already—were there, in fact, at the very start. In a way that directly parallels John Tavener, Hillborg is seeking a 33-minute orgasmic wave, but despite moments of utter beauty, the piece is simply so caught up in the attempt to relay its never-ending ecstatic allure that it becomes overwhelmingly cloying and dumbfounded. The harmonic proximity to the (dis-)likes of Eric Whitacre don’t exactly help. But it’s the odd one out on a disc that is otherwise nothing but a delight. Read more

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