Interviews

Proms 2017: pre-première questions with Tom Coult

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Tonight, this year’s Proms season kicks off in earnest, and once again i’ll be reviewing all of the contemporary pieces receiving world or UK premières. As an extra feature this year, i’ve interrogated some of the featured composers with a short series of questions, the answers of which hopefully will provide a little extra insight into each composer and their music, both generally and specifically with regard to the piece being premièred at the Proms. First up is British composer Tom Coult, whose new work St John’s Dance gets the season up and running this evening. Many thanks to Tom for his responses; you can also read the programme note of his piece after the questions. Read more

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The Dialogues: Monty Adkins

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It’s a real pleasure to present a new instalment in my occasional series The Dialogues. This episode is in conversation with composer Monty Adkins, whose music i’ve written about many times on 5:4 and hold in very high regard. Our discussion explores a wide range of topics, including the fundamental aspects of Adkins’ compositional aesthetic, the history and development of his practice, the influence of visual art throughout his output alongside musical influences, considerations of beauty, narrative vs. abstract approaches to composition, the relationship between and implications pertaining to ‘authentic’ and artificial sonic environments, types of listening, perceptions of time, notions of the sacred, the imposition (and benefits) of compositional restrictions, the organisation/structuring of non-teleological music, combining electronics with live instruments, and Adkins’ relationship with the listener. In the course of our conversation, several articles and papers written or co-authored by Adkins are referred to; all are freely available to download, and links to all of them can be found below.

As before, i’ve included numerous excerpts of Adkins’ work throughout the Dialogue in order to illustrate or clarify what we’re talking about; a complete list of the excerpts is below along with the times in the audio when they occur, and there are links to buy/stream the albums from which they come. As usual the Dialogue is available to download or you can stream it via MixCloud. Despite the considerable length of our conversation, both Adkins and i felt afterwards that there was much more to talk about, so there may well be a second part at some point in the future.

i want to thank Monty for generously giving me so much of his time, and for being prepared to talk so openly (and for so long!) about his life and work. The trajectory his music has taken over the last twenty years is markedly different from many involved in electronic music, and i hope both newcomers and long-standing fans of his work will find our discussion as fascinating and illuminating as i did. Read more

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The Dialogues: John Wall

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i’m delighted to be able to present the latest instalment in my occasional series The Dialogues. In this episode, i’m in conversation with the composer and performer John Wall, whose work i’ve very deeply admired for many years. Wall and i got together over the summer, and our conversation took place within his studio, affording him the opportunity to illustrate our discussion with numerous audio excerpts, many of which are included in the edited recording. In addition to exploring the techniques and development of Wall’s 22-year career in electronic music—during which time he has gradually evolved from working with chunks of sampled acoustic sound into a world constructed from tiny electronic slivers—we explore a variety of associated topics, including sampling, compositional decision-making, collaborations and many other related issues.

In addition to those played by Wall himself, i’ve included in the Dialogue a liberal selection of pertinent excerpts from throughout his output to clarify and elaborate upon some of the points made. A complete list of these excerpts can be found below along with their timings in the audio. The Dialogue can be downloaded from the link below or streamed via MixCloud. All of the music discussed can be obtained via Wall’s Bandcamp site; his collaborations with Alex Rodgers are also available from the Entr’acte label.

Finally, i must say a huge thank-you to John Wall and his partner Kay for their time and hospitality, and also to Allon Kaye at Entr’acte for his assistance. Wall’s amazing music deserves to be known about, heard and appreciated by a significantly wider audience, and it’s my sincere hope that this Dialogue can be a helpful and tantalising starting point for the unitiated, and provide some interesting insights to those already familiar with his work. Read more

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The Dialogues: Gareth Davis

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For the next couple of weeks, i’m going to spend some time revisiting some of the most interesting new works heard at HCMF 2014. As a prelude to that, i’m very pleased to announce a new occasional series on 5:4 called The Dialogues, featuring myself in conversation with assorted musical luminaries. This first episode is with the clarinettist Gareth Davis, who was in Huddersfield giving the world première of the contrabass clarinet version of Elliott Sharp’s audio-visual work Sylva Sylvarum. Our dialogue begins with an in-depth exploration of that piece in conjunction with its sibling work Foliage, which Davis performed at last year’s Bristol New Music festival. We also discuss at length Davis’ career, including his musical origins, the choice and implications—both aesthetic and practical—of bass and contrabass clarinet as his instruments of choice, the role and nature of virtuosity, improvisation vs. notated music, as well as the multitude of diverse collaborations he has been part of over the years, focusing on those with Rutger Zuydervelt (Machinefabriek), Frances-Marie Uitti, Steven R. Smith and Martin Stig Andersen. Works by other composers are surveyed along the way, including examples by Johannes Schöllhorn and Peter Ablinger.

i’ve peppered our dialogue with an assortment of extracts from the pieces being discussed; a full list is below with their timings as wel as links to buy the music. Along with that pepper, there’s also some salt, for which i must apologise: one of us (undoubtedly me) failed to switch off our mobile phone, so there are some not-very-loud-but-noticeable bursts of data noise at a few points during the recording.

Gareth Davis is a fascinating musician, his approach to performing—particularly with such unwieldy instruments—is unlike anyone else i’ve come across, and i’m immensely grateful to him for spending so much time with me to discuss his work. His website, with substantial information about him and his activities (plus a not insignificant page about coffee) is klangtint.com, and Discogs has a pretty complete summation of his recorded output. Some of his more recent albums have featured on the 5:4 Best of the Year lists—Memory Space in 2014, Gramercy and Terra Incognita in 2012—and to anyone unfamiliar with his output i really cannot recommend it highly enough (links to buy are included below). It is always surprisingly strange and deeply beautiful. Read more

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