HCMF

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

HCMF 2014 revisited: James Dillon – Physis (World Première)

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To conclude my revisiting of HCMF 2014 for the time being, i have to feature something by the festival’s Composer-in-Residence, James Dillon. There’s much to choose from, but the single work that made the strongest impact on me was Physis, receiving its world première. i’ve said a little about the work’s background (dating back over 10 years) as well as the way Dillon culled one part of the piece in my original review, but here’s Dillon’s statement in full:

In the process of preparing Physis I & II with the orchestra I took the radical decision to cut ‘Part I’ from the score, this was done for purely musical reasons. The two parts of Physis were always intended to work as independent scores anyway, nevertheless taking the decision to cut the work was not taken lightly. The history of Physis is an unusual one, written as it was nine years ago and never performed at the time it seems destined to maintain a strange position in my work. In taking the decision to withdraw ‘Part I’, I have also decided that this part of the score would remain withdrawn.

In a subsequent interview, though, Dillon cited insufficient rehearsal time as a factor for cutting Physis I (not exactly a “purely musical reason”), and also clarified that the piece was not so much “never performed” as not actually completed on time. The complete truth is no doubt to be found in and among these various ‘facts’. Read more

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HCMF 2014 revisited: Hans Thomalla – Lied (UK Première)

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Staying with Trio Accanto’s superb recital at HCMF last November, Lied by German-born, Chicago-based composer Hans Thomalla makes for an interesting contrast with the piece by Brice Pauset. Thomalla treats the trio like aspects of a single entity (a ‘trinity’ if you like), the three players exploring ideas with one mind. There’s little sense of perspective; each of the performers occupies the foreground, and while it’s tempting to describe one part as having a melodic line while another embellishes it, one can just as cogently argue it the other way around, the former having a simplified version of the latter. Either way, it’s clear throughout that the material is intimately interconnected, to the point that a potent sense of klangfarbenmelodie is projected.

In essence, then, the drama encapsulated in Thomalla’s music—expressed most through implication and delicate dynamic contours—emerges out of what is effectively a single, composite thread of ideas; as time goes on the music feels increasingly repressed—sporadic accents amidst such tentativity lending an air of dazed hysteria—yet it leads to the work’s most beautiful music of all, ending in several wonderful minutes softly transfixed in shadow. Read more

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HCMF 2014 revisited: Brice Pauset – Adagio Dialettico (UK Première)

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One of my personal highlights of HCMF 2014 was the evening concert given by Trio Accanto, comprising saxophonist Marcus Weiss, pianist Nicolas Hodges (a relative newcomer to the group in 2013) and percussionist Christian Dierstein. Although lasting only a quarter of an hour, Brice Pauset‘s Adagio Dialettico, composed 15 years ago, seems to last considerably longer than that, due to the scope of both the material and the interplay between the players. And, to an extent, due to the tempo, its very slow pace affording Pauset considerable time for the presentation and reflection upon his ideas. This is obvious within the opening couple of minutes, an extended piano solo that’s thoughtful and spacious, patient and pensive. When the saxophone joins in, it’s in a similar vein, occupying itself with quiet trills to such an extent that it sounds downright reticent beside the piano, following its motion with the greatest of caution, perhaps even reverence. This relationship persists as the percussion, initially offering dry reinforcement, moves into the foreground on the vibraphone, and only very gradually do all three parts together become more busily integrated. This leads to highly complex, microtonally-inflected counterpoint—almost three entirely independent lines—yet the trio coalesces at high points and ultimately coincides on a unison a little over halfway through.  Read more

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HCMF 2014 revisited: Howard Skempton – Oculus (World Première)

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One of the smallest works receiving their first performance at HCMF 2014 was Howard Skempton‘s two-minute Oculus, for solo piano. Despite such brevity, it’s a beguiling curiosity of a piece; indeed, ‘Skemptonian’ might be a good adjective for music that is weird, amusing and a bit baffling all in equal measure, as Oculus is. Which is not to say it’s incomprehensible; although Skempton speaks of using two major and minor chords (thereby employing all 12 notes of the chromatic scale – an oblique reference to the work’s dedicatee, Christian Wolff, a fan of Webern’s music), that seems from a listening perspective a bit of a red herring—or perhaps a MacGuffin. Read more

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HCMF 2014 revisited: Anna Þorvaldsdóttir – æquilibria (UK Première)

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i went to Huddersfield last November not knowing anything about Icelandic composer Anna Þorvaldsdóttir‘s music; two months on, following an HCMF première and a CD release (review coming), that’s happily no longer the case. In many ways æquilibria, the work of Þorvaldsdóttir’s receiving its first UK performance at HCMF, serves as something of a paradigm for her work as a whole. Perhaps unsurprisingly for a composer from a country characterised and constantly being altered by shifting geological activity, her music often avoids concrete statements, preferring the establishment of firmaments, the stability and permanence of which are forever being undermined and questioned. In æquilibria (the title being an archaic plural of equilibrium) this is captured via a series of fundamental pitches—’tonics’ in a post-tonal sense, reinforced by being heard in multiple octaves—over and upon which intricate lines of filigree extend and rival harmonic emphases are brought to bear. As octaves become untenable, other intervals—4ths and 5ths—start to operate as indicators of permanence, Þorvaldsdóttir flirting with conflicting major/minor connotations above them, before threatening these too, roiling low winds at the work’s epicentre leading to a huge surge and ebb, leaving the piece in an entirely unclear state. Read more

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HCMF 2014: BBC Scottish Symphony Orchestra, Arditti Quartet

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The closing weekend of the Huddersfield Contemporary Music Festival was dominated by the music of composer-in-residence, James Dillon. Saturday found him represented by two major works performed by the BBC Scottish Symphony Orchestra conducted by Steven Schick, the piano concerto Andromeda and the first performance of Physis, a work originally commissioned over 10 years ago by the Orchestre de Paris for the bi-centennial of Berlioz’s birth but, following various organisational machinations, not ultimately performed. Before them both came L’abscencia, a short orchestral work by the 2013 HCMF composer-in-residence Hèctor Parra. If last year established anything, it was that Parra enjoys creating highly intricate textures, and these were to be found in abundance. Particularly interesting was the work’s inherently conflicted nature, where unstable surface elements acted out upon a series of shifting but otherwise stable firmaments. Parra’s approach to orchestration pays attention to the lightest and most ephemeral of sounds, which quite apart from anything else makes his music highly attractive. The work’s closing gesture was pure beauty: a tense pause followed by a kind of accented sigh, faint harmonics ascending into the ether. Read more

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