HCMF

HCMF 2017: Polish Radio Choir, Karin Hellqvist

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For the first twenty minutes of the concert given by the Polish Radio Choir in Huddersfield Town Hall yesterday, i was forming the view that, though what we’d heard seemed at odds with his description, Dai Fujikura had nonetheless composed not only two of his best ever works, but better than much of the new choral music i’ve heard in the last few years. However, then Polish composer Agata Zubel came onto the stage to take a bow, and it transpired we hadn’t been told that the entire running order had changed. Only now, after this, did we actually hear the UK and world premières of Fujikura’s Zawazawa and Sawasawa respectively, and as it turned out they were a much more conventional and humdrum affair. Zawazawa was interesting for a time, a mixture of homophonic writing with a muscular delivery giving the impression of a single voice refracted or multiplied into a much larger manifestation. It was let down by an excess of repetition, but quite pretty at times. Sawasawa, by contrast, was thoroughly confused, mainly due to the addition of a marimba that at almost no point seemed connected or related to what the choir was doing. Or, indeed, relevant; often it seemed as though two entirely separate pieces were being played simultaneously. All very odd.
Wojtek Blecharz‘s Ahimsa, the UK première of which had actually begun the concert, explored a fascinating patchwork vocal texture made up of sonic swatches imbued with small, highly characterised motifs, acting like drops of ink being absorbed into a piece of tissue paper. Read more

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HCMF 2017: The Otheroom, Ensemble Modern + Arditti Quartet, zeitkratzer perform Kraftwerk

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Yesterday at HCMF was unusual, personally speaking, as for the most part it involved hearing music not for the first time. In the evening at St Paul’s Hall, Ensemble Modern and the Arditti Quartet gave the first UK performances of Carola Bauckholt‘s Laufwerk, Christopher Trapani‘s PolychROME and Brian Ferneyhough‘s 45-minute collection of ‘encounters’ with the music of Christopher Tye, Umbrations. Bauckholt’s work was new to me, and it worked well as a concert-opener, moving through a sequence of motoric episodes, each one an imitation then an elaboration of a collection of prerecorded sounds made by Bauckholt “when I was alone”. Though not particularly memorable, it was energising and fun. i’ve written at some length about the Trapani and Ferneyhough works following their premières in Witten earlier this year. Hearing PolychROME again was a real treat, and on the strength of this second hearing i came away feeling that the piece works rather like a trap. Behaviourally, it quite quickly feels settled, inasmuch as its ants-in-the-pants jerks and spasms, qualified by brief chord swells, becomes almost too familiar. The turning point – and in hindsight, it’s hard not to hear this as Trapani heralding the start of what’s discreetly about to happen – comes with a prominent horn passage, almost fanfaric. As the music continues, dryer and sharper than ever, one becomes aware that everything is becoming more and more shrill, like a blurred scream coming more and more into the sharpest of focus. And before you even know how you got there, the entire ensemble is shrieking at you, each one louder and more relentlessly cranium-drilling than the last, triggering in the hall a welter of hands being rushed to lightweight ears. Absolutely wonderful. As for the Ferneyhough, hearing it again surprisingly made it sound less rich and ‘romantic’ than it had seemed a few months ago. Read more

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HCMF 2017: Red Note Ensemble, Metal Machine Music, Aeolian

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Here we go again (deep breath)…

The opening concert of the 40th edition of the Huddersfield Contemporary Music Festival immediately gave one pause for thought. What it wasn’t was a conventional wallop, a smack around the ears to wake us up out of our complacency, such as the one given by Jennifer Walshe and the Ardittis twelve months ago (from which i’m still not sure i’ve fully recovered). What it was though, at least in part, was a demonstration of the importance, potential and power of lyricism. If this sounds a bit slight in comparison, it isn’t, for in itself it’s another example of how open-minded HCMF has become under Graham McKenzie’s leadership. i have to confess that, prior to McKenzie taking over, my interest in HCMF had dwindled to nothing, due to how narrow and entirely predictable it had become. Somewhere along the way, the capacity for music to breathe and to provide scope for extended lyrical contemplation got essentially squeezed out. At last night’s opening concert in St Paul’s Hall given by Red Note Ensemble, there was almost a sense of defiance in the way one piece after another contributed to an atmosphere that, by its close, had become almost opulent. Read more

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HCMF revisited: Aaron Cassidy – The wreck of former boundaries/Liza Lim – How Forests Think

Posted on by 5:4 in CD/Digital releases, HCMF | 2 Comments

Later today i’ll be jumping in the car to begin my annual pilgrimage to the Huddersfield Contemporary Music Festival, and it seems appropriate to conclude this week’s revisiting of previous years with mention of a recent CD featuring two larger-scale works that both received their first UK performances at last year’s festival. It’s pretty common to hear new music at HCMF and then lose all sight and sound of it for years afterward, due to a lack of further performances on these shores or a CD release. So it’s unusual and enormously welcome that within a year of hearing Australia’s foremost contemporary music ensemble ELISION perform Aaron Cassidy‘s The wreck of former boundaries and Liza Lim‘s How Forests Think, both are available on a CD released by Huddersfield Contemporary Records. Moreover, the recording is of that very same live performance at HCMF 2016 which, considering how exciting and immersive that concert was, makes it even more of a treat.

i discussed both pieces at length in my original review of the concert, and while this isn’t a new performance, this recording offers a fresh perspective of each piece, one that at times draws significant contrasts with the experience of hearing them live in St Paul’s Hall last November. Lim’s piece in particular left me with a lot of questions and concerns, some of which have been addressed by the CD. Read more

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HCMF revisited: Laurence Crane – Movement for 10 musicians

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One of the awkward aspects of attending the Huddersfield Contemporary Music Festival arises from the fact that, when choosing which concerts to attend, there’s an unavoidable fear that one will inevitably miss something fantastically memorable and/or stunningly ground-breaking. The next piece in my HCMF revisitings is a case in point, from a concert i ended up kicking myself for missing in 2013. The work began life in 2002 as Movement for Ensemble, composed for Dutch ensemble Orkest de Ereprijs who presented it at that year’s Gaudeamus Music Week. The following year another Dutch group, The Ives Ensemble, commissioned a slimmed-down version of the piece for a series of performances in conjunction with Rotterdam Dance Works, whereupon it became Movement for 10 musicians.

The entire piece is made from just three very basic ideas:

  • three chords, rising up a scale, emphasising the interval of a 6th, over a sustained pitch;
  • two chords, falling a semitone, with shared pivot notes;
  • a two-octave rising diatonic scale, in octaves, over a sustained pitch.

It unfolds like a cross between Ravel’s Bolero and Howard Skempton’s Lento. Crane repeats the first two of these ideas numerous times in groups of 2, 4 and 6, but despite how obvious these repetitions are, and the structural blocks they form, the piece is not first and foremost about this. Harmony is what ultimately demarcates the work’s overall structure, which falls broadly into four sections. Crane positions the music at a cadential liminal point, founded upon a tonality of E – floating between major and minor – with regular suspended fourths and sevenths that push and tilt it towards the key of A. Three of the work’s four sections do actually end with this cadence, though the way the chord of A is rendered – enriched with sevenths and ninths, but lacking a major or minor third – lends it both a harmonic conviction and neutrality that are entirely in keeping with the tonal fluidity that pervades the piece. Read more

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HCMF revisited: James Dillon – Piano Concerto ‘Andromeda’

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Scottish composer James Dillon is a regular fixture at the Huddersfield Contemporary Music Festival, and the last few years have included several of his larger-scale works. Of these, the performance of his Piano Concerto ‘Andromeda’ at HCMF 2014 was one of the most striking, and has remained vividly in mind partly due to how difficult it seemed to parse, and as a consequence was a tricky piece to write about in my original review. The work isn’t performed often and no recording yet exists, so it’s one of a number of Dillon’s major works that remains in relative obscurity.

That’s unfortunate in any case, but particularly so because of the level of ambition Dillon brought to this piece. His long programme note describes the points of inspiration that led to the work’s subtitle, citing Greco-Roman mythology – Andromeda was the daughter of Celeus and Cassiopeia and personifies the dawn; like Prometheus, she was chained to a rock, eventually rescued by Perseus – and astronomy, referring both to the constellation (which was originally seen to represent Andromeda, and named ‘the chained woman’) as well as the galaxy – the nearest major galaxy to our own – that lies within it. Dillon also talks about the the legacy of the piano concerto idiom, describing the increasing emphasis on soloistic virtuosity that “remains one of its most attractive and repulsive features”, which perhaps explains why the pianist in his piece, save for a short opening cadenza, bears no resemblance to a conventional concerto soloist. Read more

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HCMF revisited: Marcin Stańczyk – some drops… (UK Première)

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Some make their journeys alone.
Others get together, as couples or in small gatherings.
They connect and they divide. This may seem unpredictable.
But you can guess which paths they will take.
In the end, most of them follow their forebears.
It’s gravity, apparently.

While some composers persist in providing lengthy diegetical tracts to explain their compositions, at HCMF 2016 Polish composer Marcin Stańczyk provided the above text to accompany the first UK performance of his piece some drops… for double-bell trumpet and ensemble. As i’ve got to know the work better since that first encounter, these words have made more and more sense. Stańczyk initially places the solo trumpet at the back of the space, behind the audience (“Some make their journeys alone”). But as the work progresses, the soloist slowly walks forward, eventually joining up with the rest of the ensemble, which is itself continually reforming into different groups (“Others get together, as couples or in small gatherings./They connect and they divide”).

The lines that then suggest that the apparent unpredictability can be guessed are, i think, more subtle than simply suggesting that we as listeners can work out what’s going to happen and when. That certainly isn’t the case, and to my mind this is more about the nature of the material being explored throughout the piece which, as i said in my original review, seems to be “teetering at the cusp of letting loose something warm and familiar”. This seemingly comes from nowhere, emerging in the wake of the work’s opening minutes where a strange pulse is set up, with sporadic single-note chirps from left and right. Is it sinister? vague? preparatory? Whatever it is, it’s at something of a distance until around three and a half minutes in, when the weird sense of a (neo-)romantic musical urge starts to exert itself, nothing more than a rising 3-note motif that might be the beginnings of a melody. Stańczyk ever-so-gently reinforces it with a pizzicato double bass, but it ends up becoming lost in the haze that characterises this portion of the piece.  Read more

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