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Fermata

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Holidays beckon; back in two weeks, with a mega catch-up of all the new Proms premières…

Fermata

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i’m now heading off to Norway for a week, so the Proms reviews will be on hold until my return. In the meantime, don’t forget to vote in the polls for the premières heard so far.

Se deg snart!

New CD coming soon: Dither • Pother • Roil

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In a week’s time, a new CD of my electronic music will be released, titled Dither • Pother • Roil. It contains three distinct but related pieces, which began life in a series of improvisations made in early 2008. Somewhat inexplicably, i promptly lost the recordings and forgot all about them until the start of this year; between February and October i then extensively reworked and developed them into their final, very elaborate forms, which together last around 49 minutes. Here’s a smidgeon from the blurb-spiel:

There are ways in which this trio of works relates to and draws upon both the techniques and sentiments of my earlier electronic music. There are echoes of the shifting abstractions of the Simulated Music cycle, as well as the large-scale sculptural elementalism heard in the Ceiling stared at me but i beheld only the Stars and ‘Icon’, the central panel in Triptych, May/July 2009. But above all, Dither, Pother and Roil explore (for me) new methods and an expanded mode of expression.

Dither was finished first, and is concerned primarily with material that writhes and roars at its own prevarication. Here’s part II:

Pother continues the thread established in Dither, becoming increasingly fraught and portentous. This is part I:

Roil was the last to be completed, and is the longest and most complex of the three. A multi-layered noisescape, Roil is by far the most unrestrained piece i have ever composed, whipping up elements of Dither and Pother into a clamorous torrent of frenzied outrage. Here’s part IV:

The accompanying artwork explores details from a recent painting by the young American artist Claire Uhle. Titled ‘Well, everything’s moving so slow in this life time.’, the painting goes a long way to capturing everything that Dither, Pother and Roil are seeking to convey (click for high-res).

The CD comes out on 20 November in a numbered limited edition of 50 copies. For more information and to order a copy, click here. A digital download version will also be available.

In other news, my previous CD Night Liminal is now available as a digital download as well. There are also a few CDs left; details about both can be found here and here.

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New CD out today – Night Liminal

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i’m delighted to announce that today sees the release of my latest CD, Night Liminal. Here’s a bit of blurb from the spiel:

For the last four years, my electronic music has been to a large extent founded upon noise. Whether sculpting large, primordial shapes from it (Triptych, May/July 2009), pitting it against pitched material (the Ceiling stared at me but i beheld only the Stars) or allowing it to do its own thing (Simulated Music), noise has been the principal vehicle for my electronic music. Even in my most gentle work (The Stuff of Memories), noise has been present, colouring and caking the music in sonic detritus.

Night Liminal is different. Lasting a little under forty minutes, the work is a stark contrast to these intense noisescapes, signalling both a return to and a reclamation of my æsthetic roots, embracing the quietude of ambient music. For the first time, the material is gentle, soft-edged and peaceful—even relaxing. That, at least, is its first impression; but the work’s inspiration is more subtle and ambivalent than that. Night Liminal is partly inspired by the ancient monastic service of Compline, which takes place as day is ending. Both the service and its setting confront head-on the perils heralded by twilight.

Being in a sacred space at dusk is a profound and paradoxical experience, comforting yet unsettling. One is caught between light and darkness, between the vast expanse of tradition and the contemporary mystery of the moment. The night can be a dangerous and uncharted place; my hope is that this music can become an integral part of the gloaming, teasing out and resonating with both its delights and its uncertainties in a gentle act of provocation and peace.

Provocation may seem incongruous in the context of ambient music, but Night Liminal’s soft, slow-moving textures echo this; warm and melodic, sometimes dark and disquieting, they afford the listener a dual experience of rest and reflection.

Night Liminal is dedicated to the memory of Jehan Alain.

As usual, the CD is a limited edition of 50 numbered copies; to order a copy, go here.

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Fermata

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i’m not around much at the moment, so there’ll be a short general pause on 5:4. The Proms articles will continue when i’m back, but in the meantime, i’ve set up polls for the recent Proms premières, so the votes can keep coming in. The dedicated Proms 2012 polls page can be found here—get voting!

In memoriam

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Today is the anniversary of the death of my father, Richard Peter Weston Cummings. Over the years, i’ve composed several pieces that explore the range of feelings and memories associated with his passing, the most recent of which was my electronic work Triptych, May/July 2009, released on CD a few years ago. The piece was in part created using a photograph of my father (used on the CD artwork), which was manipulated and converted into sound in various ways to create the basic material from which the three movements were made. Musician and composer Danielle Baquet-Long, with whom i’d only just made contact, died suddenly while i was composing the work, so the Triptych is dedicated to her memory.

There are still some copies of the CD remaining, so to mark today, i’ve dropped the price significantly – just £2.50 for the CD (including UK shipping; slightly more for overseas) and a mere 50p for the digital download. For the CD go here, or for the download, here.

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Apologies; and forthcoming

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Apologies, one and all, for the lengthy hiatus here on 5:4. In a break with convention, i’ve been finishing off two or three new compositions and then—entirely in keeping with recent convention—fighting off a rather stubborn virus. Before service resumes properly, then, let me flag up a couple of performances of these new pieces that are happening next month, both at the Birmingham Conservatoire.

The first is nolite facere dicunt enim, a work for 12 voices written for the vocal group Icarus, based at the Conservatoire. The group, which changes membership each year, is the brainchild of Chi Hoe Mak, one of the most wonderfully effervescent conductors i’ve ever met. It’s not a piece i want to say anything about at this stage, but you can take a look at the full score below. The first performance will be taking place on Wednesday 6 June; the concert starts at 7.30pm and tickets (undoubtedly very cheap) will be available on the door. Do come along and be shocked, appalled, enriched and/or entertained by it if you can.

EDIT: Due to a variety of unfortunate circumstances, this performance has been postponed.

Second is a work for voice and five players called the octave of the grief of the clone that leapt to the remainder of night sky; that title is taken from the writings of one of my ongoing inspirations, Kenji Siratori, as is the sung text, which uses Siratori’s poem Foolish/Moon. It’s not possible to show a score for this piece, as there isn’t one; the five players—clarinet, bassoon, viola, double bass and guitar—are all independent of each other and of the vocalist, although a couple of the players interact and affect the ensemble in different ways. This piece was written for the soprano Ruth Hopkins, who will be performing the piece with members of the ensemble Thumb, also based at the Conservatoire. The concert is on Monday 11 June, starting at 8pm; there may be a performance in Camden later in the year, but more about that as and when. Again, if you’re in the area, do come along.

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