Concerts

Unsuk Chin – Six Piano Études

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It’s been quite a while since my articles on the Barbican’s 2011 Total Immersion Day devoted to Unsuk Chin, but here’s an omission from that account, which was only broadcast recently. The day began with a piano recital given by Clare Hammond, featuring Chin’s Six Piano Études. It’s perhaps not surprising, considering Chin studied for several years with György Ligeti, that she should be drawn to the étude form, yet hers are very different both stylistically and collectively from those of her former teacher.

There’s a strong sense of unity running through the six pieces, even of continuity. Chin is drawn to filigree piano writing, which is present right from the start of ‘In C’; the diatonic progressions in the bass guide the étude rather than grounding it, the right hand sounding like streams of water magically cascading upwards. ‘Sequenzen’ begins at the other end of the keyboard, in a lugubrious preamble that swiftly gains momentum, a single pitch lingering within. Hectic passagework breaks out—the upper part filled with embellishment—only hesitating briefly in a moment of repose before launching into a torrential climax. One realises how closely-related these two études seem when the third begins; the tempo of ‘Scherzo ad libitum’ is all over the place, charging off unpredictably only to slow down again immediately afterwards, a juddering sense of motion that brings to mind the inscrutable mannerisms of Nancarrow’s player-piano studies. The étude ends in similar fashion, but its centre is a lengthy episode of unstoppable material, like a burning juggernaut, notes flying everywhere like sparks and flares. Read more

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HCMF 2012: Cikada Ensemble

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The last concert i attended in my weekend at HCMF 2012 took place back in Bates Mill, in the company of Norway’s remarkable Cikada Ensemble, whom i’ve been fortunate to hear on a number of occasions. More than most, Cikada tend to give off an air of almost aggressive fearlessness, and while that quality permeated this concert in abundance, the three exceptionally diverse works they explored nonetheless each delivered varying amounts of frustration. Read more

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HCMF 2012: Arditti Quartet

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Two months may have passed, but memories of the all-too-brief weekend i spent at HCMF 2012 are alive and well; so let’s pick up where i left off.

The second day of my HCMF experience began once again in St Paul’s Hall, confronted by the understated marvel that is the Arditti Quartet. Despite the palpable excitement that pervaded the previous day’s concerts, the atmosphere in the hall on this occasion was that unique kind of highly-charged tension that only a few performers and ensembles can engender. The quartet had brought with them four works that initially seemed strikingly different from each other, but three of them ultimately proved to be united by a common line of enquiry, making the most of out of, materially speaking, very little. Read more

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HCMF 2012: Ensemble Resonanz

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The first day of my weekend at HCMF ended back where it had begun, in St Paul’s Hall, for a late-night concert by Ensemble Resonanz, conducted by Peter Rundel. The concert was broadcast live on Radio 3 and comprised just three pieces, all focussing on strings, two of which featured solo cello, played by Jean-Guihen Queyras.

It began with the UK première of Rolf Wallin‘s Ground, the title of which alludes to the cyclic Baroque form of divisions, whereby a repeating bassline (the ground) is gradually overlaid with layers of faster material. That description probably suggests a certain amount of mayhem, but Ground is a decidedly pensive piece—Wallin describes it as “about finding rest”—in which the solo cello is closely surrounded by the rest of the strings, together forming a close collaboration. Furthermore, while the work has no repeating bassline (seven chords are the indiscernible equivalent here), it is highly episodic, exploring an extensive cycle of moods and atmospheres. A collaboration it may be, but it’s an intrepid one, bringing to mind a gradual descent into the earth (a connotation of the title?), passing through increasingly dark and ambiguous layers of strata. What makes the piece particularly interesting is its central melodic identity; Wallin allows tension to manifest itself in diffident, unstable music, but it never comes off the rails, preserving the sense of a pre-planned mission, rather than a mystery tour. At the work’s conclusion it enters its most cryptic episode; bordering on a stasis, both soloist and strings arrange themselves into a dense web of gently wafting notes. It begs the question: is this the ‘rest’ Wallin was striving for? or is the mission not yet completed? Read more

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HCMF 2012: Oslo Sinfonietta

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Following a collection of strangers down a bleak back street to a gloomy factory and then passing through a makeshift entrance labelled ‘The Blending Shed’ might sound like the makings of a nightmare, but this was the way in which i found myself at Bates Mill, for yesterday evening’s concert given by the Oslo Sinfonietta. What constitutes a sign? What do words and gestures really signify? How do we interpret them, and when we have, how might others respond? These questions occupied both of the works featured in the concert, which were each receiving their UK première.

Ignas KrunglevičiusGradients is founded on a bizarre exchange initiated by two Cornell PhD students: a conversation between two online chatbots, their addled, artificially intelligent dialogue forming Krunglevičius’ libretto. The piece didn’t feel promising at first, comprising a series of sliding overlapping lines on and around the same pitch, dripping with dissonance, while four singers (members of the Norwegian Soloists’ Choir) uttered a related sequence of open-mouthed ululations. So far, so meh. Read more

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HCMF 2012: Heather Roche

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Yesterday the evening began with clarinettist Heather Roche, of whom multiple friends have spoken warmly but i had never heard play. The recital took place deep in the bowels of the University’s temple-like Creative Arts building, and comprised a selection of pieces incorporating electronics. Quite a few of them—Aaron Einbond’s Resistance, Chikako Morishita’s Lizard (shadow) and Sylvain Pohu’s l’identité—left me cold, revisiting tropes and methods that have become overused and hackneyed. i’ve written in the past about the endless parade of works where electronics pick up and play with material given off by the soloist, and while, of course, there’s scope to do genuinely interesting things with this, it’s some time since i’ve encountered any. Einbond’s Resistance felt especially moribund, assuming that the sounds of Occupy Wall Street would somehow embody his material with electrical charge, yet the result sounded merely exploitative. Read more

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HCMF 2012: Nicolas Hodges

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My HCMF 2012 experience began at midday today in St Paul’s Hall, with Nicolas Hodges’ lunchtime recital featuring piano music by Jean Barraqué. It’s rare, but marvellous, when a concert can be genuinely eye-opening, and everything about this recital was just that. Before the concert, i knew very little of Barraqué’s music, and as Hodges progressed through the first few pieces—Intermezzo, Pièce pour piano, Thème et variations (Retour was sadly omitted from the programme)—a distinct first impression began to take shape: enigmatic, mysterious, aloof, music realised through a sequence of loosely but unmistakably inter-connected melodic intentions that, despite being diffused through wide intervallic displacement, somehow hold together. They brought a very different composer to mind: Morton Feldman, due both to the meticulous way notes were placed after each other, as well as the striking way Barraqué grabs hold of one’s perception of time; despite the brevity of these pieces, their ability to make time malleable was impressive. Read more

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