HCMF

HCMF 2013 revisited: James Clarke – 2013-V (World Première)

Posted on by 5:4 in HCMF, Premières | 1 Comment

If there’s one thing that unites almost the entirety of the contemporary music spectrum, it’s a fondness for allusive titles. There isn’t anything inherently wrong with that, of course, but it can have the unfortunate side effect of encouraging too many listeners to switch off a portion of their critical faculties, under the illusion that all that needs to be done is to match aspects of the content to the title and the piece will thus have been ‘understood’. But at HCMF 2013, Brian Ferneyhough—no stranger to titles as multi-faceted as his music—remarked on the disjunct of sorts between title and content, speaking of his personal need for something titular before any meaningful compositional work can begin, yet stressing the fact that this subsequent process involves significant quantities of improvisation and spontaneity, indicating the title in no way dictates or necessarily even guides the subsequent material. Nonetheless titles, whatever the composer’s intent, conjure up something that simply cannot be ignored when listening to the music. To obviate this potential programmatic distraction, James Clarke has adopted an altogether more aloof approach. A glance at his list of works reveals a striking change from 2006 onwards, his composition titles moving from the exotic (Twilight / Dämmerung) to the obtuse (Untitled No.1) to the clinical (2006-K – ‘K’ indicating that the work was composed for Klangforum Wien), redolent of those given by Xenakis to his stochastic works of the 1950s. This has been Clarke’s approach ever since, a simple statement of the year and a letter hinting at some aspect of the instrumental line-up, thereby avoiding all allusive implications. Read more

Tags: , ,

HCMF 2013 revisited: Raphaël Cendo – Rokh I (UK Première)

Posted on by 5:4 in HCMF, Premières | 1 Comment

One of the most memorable performances at HCMF 2013 arose out of what appeared beforehand to be pretty restricted forces: bass flute, violin, cello and prepared piano, members of the French Ensemble Linea. Yet in Rokh I, the first of a three-part, 30-minute cycle, Raphaël Cendo enables this quartet to become one of the most startlingly elemental pieces of chamber music i’ve ever witnessed.

In Huddersfield, of all places, one hardly expects instruments to be played only in a traditional fashion. But Rokh I goes further; by avoiding almost anything resembling convention, Cendo practically redefines what music is, turning it on its head in fact. Cendo’s extended techniques seem like nothing of the kind, but merely the most basic and fundamental—even obvious—ingredients for the intensely focussed, self-referential entity that is Rokh I. The work’s point of inspirational origin is the terrifying mythological bird of prey found in Indian, Persian and Asian literature (perhaps most memorably in the One Thousand and One Nights). Cendo establishes the sonic credentials of the creature in the most dazzlingly vivid way, a counterpoint of violence formed from a myriad gestures, slides, twangs, thwacks, ruffles, slaps, heavily compressed pitches, grindings, pops, clusters and whooshes. It’s as though we’ve become the miniaturised inhabitant of the great creature’s nest, confronted by activity on a massive and potentially very destructive scale. Read more

Tags: ,

HCMF 2013 revisited: Cecilie Ore – Come to the Edge! (World Première)

Posted on by 5:4 in HCMF, Premières | Leave a comment

Memories and afterthoughts of the exhilarating and, at times, revelatory experiences from HCMF 2013 haven’t really stopped swirling around my mind, so i’m going to begin 2014 by revisiting some of the most interesting highlights, starting with a world première given by the BBC Singers, directed by Nicolas Kok.

Even though it’s only two months since Cecilie Ore‘s Come to the Edge! was premièred, a great deal has changed. Chiefly, the focus of the work’s subject matter—the ludicrous imprisonment of the Russian punk band Pussy Riot—has become a historical event, as the pair of group members who remained incarcerated were released shortly before Christmas. However, the main thrust of Cecilie Ore’s abiding question—”how civilised are we?”—persists with, if anything, greater intensity. Few would attribute the band members’ release to an honest change of heart from a benevolent ruler; on the contrary, Vladimir Putin’s vain attempt to smooth over the world’s dismay at his increasingly dictatorial attitudes only illustrates the difference between being civilised and merely appearing to be civilised. Read more

Tags: ,

HCMF 2013: John Zorn day

Posted on by 5:4 in Concerts, HCMF | 1 Comment

How do you solve a problem like John Zorn? How do you reconcile the disparate works of a composer equally at home in the worlds of (among others) free jazz, avant garde experimentalism, choral, noise rock, easy listening and hardcore, and whose music moves freely, even wilfully, between these worlds at whim? That, i imagine, is the question that many have found themselves asking when confronted (and it often is a confrontation) with Zorn’s music. But, surely, the question ought to be: why are not more composers interested in drawing on such a multiplicity of styles and manners in their work? why are so many content to be so safely consistent? It’s easy, and i say this both as a composer and as a listener—hell, and simply as a human being—to be daunted and intimated by the work of John Zorn. It’s not just the variety that’s impressive, it’s the fecundity: Zorn spills out new works out a rate that’s difficult to keep up with. Personally, i always have suspicions with composers who produce at this kind of rate; “Milhaud syndrome” we could call it, and it isn’t hard to find contemporary examples, where the emphasis in their work is entirely tilted towards activity rather than achievement.

On the one hand, i don’t believe at all that Zorn is someone in whom that syndrome manifests itself; i’m familiar with a lot of his work, and some of it—particularly Femina, Rimbaud, Cerberus and the string quartets Memento Mori and The Dead Man—ranks among my favourite examples of chamber music. On the other hand, there were numerous occasions throughout the entire day devoted to him yesterday at HCMF (in celebration of his 60th birthday) when i found myself once again being challenged at making sense of the apparent incongruities, volte-faces, non sequiturs, leftfield asides and possibly even red herrings that continually rear up. Not so with The Book of Heads, a compendium of 35 etudes for solo guitar, which are so wonderfully unconventional that a regularly strummed chord would have seemed like the most ludicrous gesture imaginable. James Moore—congenial and light-hearted, entirely the right kind of personality to take on these pieces—performed 26 of them, his collection of guitars expanded by an assortment of small balloons, nail files, bowls, a rug, some bottles and a doll, plus a cluster of pedals and devices. All of which was brought to bear on Zorn’s material—comprising minimal specifications, both written and graphic instructions—which is simultaneously highly specific while also allowing the performer a considerable amount of latitude. All relatively short, they nonetheless encapsulate Zorn’s multifaceted soundworld: madcap gestures, allusions, evocations and quotations, fastidious detail, moments of intense introspection, all taking place within a highly collaborative framework. Read more

Tags: ,

HCMF 2013: n s m b l

Posted on by 5:4 in Concerts, HCMF | 6 Comments

All good noise reduction filters have an option to invert their output, effectively delivering only the removed audio information, mainly hiss and microscopic blurps, along with thin slivers of the primary audio material, little more than the most anaemic of glimpses, hinting at what lies on the other side. These kind of residua bear a strong resemblance to the music of Jakob Ullmann, whose Son Imaginaire III received its world première in St Paul’s Hall last night. The concert wasn’t just a highlight of my HCMF 2013, it was a highlight of my entire concert-going life. However, my enthusiasm for Ullmann’s work (previously manifested here and here) clearly continues to put me in a minority. The pre-concert talk, which i had fully expected to see packed to the point of standing room only, found half of the seats empty, and the concert itself, although better attended, had many seats to spare. Even in Huddersfield, it seems, audiences still have a thing or two to learn. Read more

Tags: ,

HCMF 2013: Quatuor Diotima / edges ensemble

Posted on by 5:4 in Concerts, HCMF | Leave a comment

St Paul’s Hall saw the UK première of no less than two major works last night: one, a large-scale cycle, the other, a full-blown epic. i want to discuss them together, not because they are in any way connected, but because hearing them one after the other brought about interesting contradictions and correlations, which fed into one’s appreciation of both works.

First was Alberto Posadas‘ 70-minute Sombras (Shadows), completed in 2012, which comprises five works, three for ensemble plus a pair of shorter ‘Transitions’ for duos. Before getting into the music, something about the concert presentation. Since the inspiration and recurring theme of Posadas’ cycle is shadows, it would have helped considerably if the strange current policy of keeping the house lights on throughout the concert had not been adhered to; as it was, our imaginations had to work that bit harder to buy into the dark allusions of the music. Giving us the sung texts would also have been nice, but you can’t ask for everything. For this UK première, Quatuor Diotima were joined by soprano Sarah Maria Sun and clarinettist Carl Rosman. Initially, though, just the quartet was involved, performing Elogio de las sombras (Praise of the shadows). This is easily one of the very best string quartets i’ve heard in recent years, incredibly demanding on the players but packed with more than the usual amount of imaginative bandwidth. Read more

Tags: , , , ,

HCMF 2013: Séverine Ballon

Posted on by 5:4 in Concerts, HCMF | 1 Comment

Today’s first concert was given by French cellist Séverine Ballon. Her recital comprised UK premières by Hèctor Parra and Mauro Lanza and a world première by Rebecca Saunders, together with a classic of the repertoire, James Dillon‘s Parjanya-Vata, composed in 1981. It was especially good to hear this again; it’s a long time since i have, and Ballon’s spectacularly fiery commitment to the work’s whirlwind climax left me wondering why i’d left it so long. Hèctor Parra’s electroacoustic tentatives de réalité is an exercise in frenetic action. Parra’s programme notes always go to great lengths to inform as to the extra-musical points of origin, but on this occasion intention and result seemed insufficiently interconnected. In short, one never felt as involved as Ballon clearly was. The material establishes a kind of monotony that wasn’t especially helped either by the nature of the electroacoustic interaction—cause and effect a-go-go—or by its sonic fingerprint, which in many ways felt like an amalgam or catalogue of a multitude of all too familiar tried and tested (and tired) ideas. Read more

Tags: , , , ,