Premières

Rebecca Saunders – Stirrings (UK Première)

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Rebecca Saunders at 50i’ve already used the word ‘obsessive’ in this Lent Series, and i’m sure i’ll be using it again in due course, but it’s important to note that the strain of obsession that repeatedly rears its head in Rebecca Saunders’ music is a reflection of her own compulsive attitude towards sounds and ideas. In my discussion of murmurs i remarked about the work not being a comment on society, and this is due to the fact that Saunders’ overwhelming concern – not just in this piece but in much of her output – is directly with sound itself, the way a certain action or gesture speaks, both in its own right as well as within different contexts, juxtaposed with other gestures or actions. Her fascination is so meticulous that it seems almost anthropological – sounds, instruments and players as discrete species being rigorously researched – and as a consequence becomes an obsession that not only manifests within compositions but across them, to the point where one wonders whether there’s a certain amount of tautology in her work, due to the behavioural similarity between certain pieces.

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Rebecca Saunders – murmurs (UK Première)

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Rebecca Saunders at 50

Since the trace is not a presence but the simulacrum of a presence that dislocates itself, displaces itself, refers itself, it properly has no site; erasure belongs to its structure. And not only the erasure which must always be able to overtake it (without which it would not be a trace but an indestructible and monumental substance), but also the erasure which constitutes it from the outset as a trace, which situates it as the change of site, and makes it disappear in its appearance, makes it emerge from itself in its production.

Got that? This quotation from Jacques Derrida is one of the texts Rebecca Saunders uses in the notes that precede the score of her 2009 work murmurs. The piece is one of several she has composed that she calls a ‘collage’, in this case one for ensemble but described as being “of seven parts”. This is a reference to the number of discrete musical “sound surfaces” – Saunders’ term – that are deployed throughout the piece, comprising five soloists: bass flute, oboe, bass clarinet, violin, and piano (player 1), and two duos: piano (player 2) and percussion, and viola and cello (a total of nine players, not 10 as erroneously indicated in numerous online sources). Saunders’ use of the word ‘collage’ is a useful descriptor for the way these entities are deployed as well as the way they relate to one another, though both are more complex than they seem at first. Read more

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Rebecca Saunders – traces (UK/Austrian Premières)

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Rebecca Saunders at 50Rebecca Saunders turned 50 towards the end of last year, so to mark this milestone the 5:4 Lent Series will this year be dedicated to her music. Over the course of the next six weeks, i’ll be looking at a number of her pieces in some detail, as well as providing a survey of her work as represented by CDs and downloads. Although Saunders is British born, her music is neglected in the UK; with the exception of Huddersfield, which has consistently provided a platform for her, performances in Britain are infrequent, and premières – notwithstanding last month’s at the Wigmore Hall, a real rarity – are virtually non-existent. It’s perhaps not surprising that Saunders’ music should be better known on the continent, particularly in Germany where she has long resided, but it’s disappointing (though not surprising) that one of the UK’s most renowned and radical compositional figures should be so ignored on her home turf. Furthermore, there has been relatively little serious discussion of her work, so my hope is that this series can go some way to improving that situation.

i’m going to begin with traces, a work that originally dates back to 2006 but was revised in 2009, a process that bumped it up from being for chamber to symphony orchestra. One reasonably expects different performances of the same piece to shed new light and tease out extra details, but in the case of traces that’s true to a surprising degree. i first got to know the piece from the UK première at the 2009 Proms, but some time after i heard a broadcast of the Austrian première and realised i hadn’t really got to know it at all, as it sounded so different. More recently, there was a third opportunity to hear the work when it was performed in Glasgow in 2015 (possibly the Scottish première), which only confirmed the fact that there’s something about traces that makes it seem almost entirely reinvented with each new performance – or, and this is perhaps more pertinent, that there’s something akin to a game of Chinese whispers going on. Read more

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Estonia in Focus weekend: Helena Tulve – The Night-Sea Journey (World Première)

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To conclude this weekend i’m returning to the music of Helena Tulve and to another world première, which took place last November during one of Estonia’s main contemporary music festivals, AFEKT. A 17-minute work for saxophone, percussion and piano, in a way all one needs to say about it is encapsulated in its title, The Night-Sea Journey. The music is entirely directed toward the implied narrative of that title, inhabiting a nocturnal world of shadows and moonlight, progressing – in my mind, anyway – across water. At least, that’s one way of hearing it, taking the title literally.

Heard in this way, the piece conjures a foreboding, difficult soundworld. It wouldn’t be inaccurate to describe its music as lyrical – it is, abundantly – yet of the blackest, most brooding kind, drenched in uncertainty and anguish. Initially, there’s a sense of the trio huddled together, not so much playing as making tentative suggestions: a simple piano idea based on oscillating octaves, air noise through the sax, soft suspended cymbal rolls. It doesn’t seem to add up to anything at all, yet in light of where the piece goes from here, in hindsight it’s like lighting a touchpaper. Read more

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Estonia in Focus weekend: Erkki-Sven Tüür – Symphony No. 9 ‘Mythos’ (World Première)

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i’m now turning my attention this weekend to Erkki-Sven Tüür, a composer whose work in many respects sounds distinctly different from a lot of Estonian contemporary music (and as i’ve previously mentioned, he remarked to me last year that he feels himself to be something of an outsider). To get the 100th anniversary festivities of Estonia’s declaration of independence up and running, Tüür was commissioned to compose a new work, which received its world première a few weeks back. The combination of this being Tüür’s ninth symphony, and also being part of an important national celebration, have evidently guided Tüür towards writing a work of considerable epic scope. Subtitling the work ‘Mythos’, Tüür’s Symphony No. 9 is a 35-minute, single-movement work that to an extent sets itself apart from the most familiar aspects of his compositional style. Instead of a preponderance of rhythmic and gestural cavorting, Tüür has created a large-scale slab of meticulous musical evolution through shifting textures and atmospheres. Read more

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Estonia in Focus weekend: Helena Tulve – You and I (World/Estonian Premières)

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In a couple of weeks’ time, on 24 February 2018, it will be an especially significant day for Estonia, marking the 100th anniversary of the country’s declaration of independence, something they’ve had to fight hard to retain through the twentieth century. Estonia is a country i’ve got to know a lot better during the last couple of years, and much of its contemporary music is almost entirely unknown and unheard outside its immediate vicinity (for various reasons, which i’ve touched upon in previous articles). So i’ll be taking the opportunity of this important anniversary to devote a number of weekends throughout the year to exploring more of their contemporary music. This weekend, i’m going to focus on some premières of impressive new works by two of Estonia’s best-known composers, Helena Tulve and Erkki-Sven Tüür.

Helena Tulve’s latest choral work, You and I, sets a text by the 13th century Persian poet Rumi. It’s one of a number of pieces Tulve has composed in the last few years to have explored Rumi’s words; North Wind, Sound Wind (2010) for voice, flute, kannel and cello uses them in conjunction with the Biblical Song of Songs, but the closer antecedent for You and I – in terms of both subject and character – is I Am a River, her 2009 choral work that i wrote about last year. Both are concerned with expressions of love, but in comparison with the earlier work, You and I is less playful than mystical, concerned with physical and spiritual union. Read more

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Wigmore Hall, London: Rebecca Saunders – Unbreathed (World Première)

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Rebecca Saunders turned 50 towards the end of last year, so 2018 effectively counts as her anniversary year, and the celebrations began last Thursday in London at the Wigmore Hall, with the world première of her new string quartet, Unbreathed, by Quatuor Diotima. The occasion was notable in no small part due to the fact that, despite being one of the UK’s most renowned composers, her work is rarely heard here. Premières are rarer still, with most of them taking place in Huddersfield; the last time London saw a Saunders world première was ten years ago with the first version of Chroma, performed at Tate Modern, and the ones before that date back to the mid-1990s.

Quatuor Diotima positioned Unbreathed betwixt two other works, Szymanowski’s 1927 Second Quartet and Schubert’s massive String Quartet No. 15 in G, composed late in his life. The Szymanowski was odd when it wasn’t being just plain meh, whereas the Schubert was a fascinating and at times excruciating tl;dr study in how far material could be pushed and worked while still holding onto its integrity (personally, i thought the integrity was emphatically broken, but in some ways that only added to the experience). While the Diotima’s performance of both these works was outstanding (and, in the case of the Schubert, herculean), it was more telling in the way it provided an interesting and useful perspective on the Saunders, particularly in terms of the nature and precision of pitch. Read more

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Kaija Saariaho – Adriana Songs (UK Première)

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Hyvää itsenäisyyspäivää, Suomi!

Today is an important day for the country of Finland, marking the 100th anniversary of their declaration of independence from the Russian Republic. To mark the occasion i’m turning to one of Finland’s most celebrated composers, Kaija Saariaho, specifically to an intense song cycle she composed in 2006. Adriana Songs for mezzo-soprano and orchestra, began life in Saariaho’s opera Adriana Mater (set to a libretto by Lebanese writer Amin Maalouf); of the opera’s seven tableaux, she adapted material from the odd-numbered movements – Clartés, Deux cœurs, Rages and Adriana – to form this four-movement cycle. The subject matter is grave in the extreme: set in the context of war, the character of Adriana is raped by a man from her immediate community, becomes pregnant and gives birth to a son, Yonas. To protect him from the truth, Yonas’ family pretend that his father died heroically, but when the truth emerges, in Yonas’ late teens, he decides to track him down and kill him. Eventually, when Yonas finally confronts his father he discovers the man is blind, and decides to spare his life, returning home to his mother. Read more

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HCMF 2017: Ensemble Grizzana

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Consider some of the qualities we might associate with the classical notion of holiness: vulnerable but resolute; at odds with easy, quick and cheap enticements in favour of a focus on that which is intangible and transcendent; superficially boring or stupid or quaint yet holding and exhibiting an absolute, unshakeable faith in its convictions. In many ways this is a fitting description of Magnus Granberg‘s How Vain Are All Our Frail Delights?, the first of two world premières given by Ensemble Grizzana on the final day of HCMF in St Paul’s Hall. The fact that we were hearing the piece on a Sunday, and in a former church, only added to the sensation. Both works on the programme were based on a pair of pieces of Renaissance music, Déploration sur la mort de Binchois by Johannes Ockeghem and William Byrd’s Oh Lord How Vain. While the material from those pieces wasn’t directly audible in Granberg’s music, one couldn’t help feeling that what we were hearing was, in roughly equal parts, a distillation, a suspension and an explosion of them. Occupying an archetypal steady state, the music emerged (following a lengthy, centering, silence) via a quiet stream of individual sustained sounds, forming a loose-weave texture seemingly encrusted with both jewels and detritus. While it would be true to say that the work was strikingly, stunningly beautiful – easily among the most lovely things i’ve heard at this year’s festival – yet that same beauty (which, it should be stressed, was sometimes far from obvious) is arguably an incidental, happy coincidence, rather than being the thing that defines it. Though exploded in terms of the separation of the instruments and their ideas, the steady state behaviour unified these individual musical actions, making the work’s constituent sounds seem like an analogue for quantum fluctuations, ephemeral particles appearing from nothing, floating in space for a time before vanishing. Read more

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HCMF 2017: Laura Cannell, ICE + Distractfold + Fritz Hauser + Anne Bourne, Mix Tape

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As i’ve indicated previously, the non-partisan diversity of HCMF is impressively broad these days, and one of the concerts that best exemplified this took place in Bates Mill Photographic Studio on Saturday morning, in the company of Laura Cannell. To describe her as a composer and performer of folk music would be to over-simplify greatly what Cannell did in the six short movements of FEATHERS UNFURLED, receiving its world première. Switching between a fiddle and a pair of recorders (the latter being played simultaneously), each piece took tropes from both folk music as well as earlier musical idioms as the starting point for broader and more personal explorations. All of the works employed drones to underpin them, and in the various fiddle pieces this accentuated the primacy of open strings, which were continually heard as reference points, grounding the music, from which more (care)free ideas could spring and rise. In one of these pieces, Outstretched, this primacy was particularly striking as, due to detuning the instrument, the quality of the drone at first came to resemble an intoning male voice, later lending an unsettling air to the music due to its unexpected gravitas. The final fiddle piece, In The Room Not Passing Through – one of two using a bow with hair going both over and under the strings – moved farthest from its allusive conventions, combining obsessive bowing with extremes of bow pressure (both too much and too little). The sound emanating from the instrument, in conjunction with Cannell’s stylised mode of delivery – involving small, careful movements within a confined performance space – hinted at something magical being invoked beneath the music. In the recorder pieces Untethered and Hollowed, Cannell took on an even more shamanic demeanour, her movements now the ritualised actions of spell-casting, resulting in heavily motivic material in the latter piece, and a strange tonality betwixt minor and major in the former. This concert was a genuinely unexpected treat, proving how alive and adventurous new manifestations of ancient traditions of music-making continue to be. Read more

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HCMF 2017: TAPE, The Riot Ensemble, Ensemble PHACE + Laura Bowler

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Having heard Thomas Lehn’s live rendition of Bogusław Schaeffer’s 1964 Symphony last thing on Thursday night, it couldn’t have been more perfect to have started Friday in the company of four more Polish electronic works, dating from around a decade later. Eugeniusz Rudnik‘s Ready Made (1977) took a collage approach to found sounds, and was primarily interesting in the naively effective way Rudnik used the juxtaposition of these sounds to articulate a sense of internal energy, most obviously in a transition from a floating drone into a burst of Berlioz’s Radetzky March. Krzysztof Knittel‘s 1976 The Worm Conqueror was strikingly different from the grey industriality of Norcet II, heard on Tuesday. His soundworld was like being in vast oceanic depths, where quiet, delicate, tiny sounds floating in silence became the brief bursts of flamboyant colour from bioluminescent fish. This wasn’t only where we began, it also established a broader context of quietude where subsequent outbursts – some of which were enormous (the only time echoes of Norcet II could be heard): muscular, brutalist torrents of stuff sizzling in the space like hot soup being poured into ice water – sounded like aberrations from a path that eventually led back down into the depths. Here, at the last, something allusive could be glimpsed, as if just beyond our reach, before vanishing. Wow. In Daisy Story (1979) by Bohdan Mazurek, the most light-hearted piece in the concert, varying forms of momentum are explored, formed from squelchy analogue mush converted into a rude rhythmic bassline. However, as overtures go it was something of a red herring, followed by free-wheeling quasi-psychedelic ideas and gestures and melodic fragments (made of sine tones) that brought to mind the early work of Kraftwerk that zeitkrazer had revisited during the festival’s opening weekend. Further rhythmic underpinnings emerged, but it was those unfettered improvisational shapes that ultimately dominated and typified the piece. When discussing Bogusław Schaeffer’s Symphony yesterday i spoke of the ‘threatening silence’ endemic to so much early electronic music, which retrospectively acts as an analogue to composers’ grappling to harness new technology. An interesting counterpoint to this could be heard in Tomasz Sikorski‘s Solitude of Sounds (1975), where (again retrospectively; it would hardly have been the composer’s intention) the tape hiss worked both as a ‘shield’ against this silence as well as the means by which the material was animated, like a soft source of ambient electricity. There was something reassuring about its presence, and the way it was shaped around and behind everything else. Speaking of which: slow-moving objects caught between pitch (just) and noise (barely) like dark grey rectangles in a sea of ash. Somehow it ended up as a polarised high/low drone, each pole slowly changing in ways that were impossible to identify. One could almost imagine it as the music of the spheres, underpinning the entirety of the universe. Read more

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HCMF 2017: Explore Ensemble, Polwechsel + John Butcher + Klaus Lang, Thomas Lehn

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One of last year’s exciting new discoveries at HCMF was the London-based Explore Ensemble, whose performance of Gérard Grisey’s Talea on ‘shorts’ day was easily among its most memorable events. Fittingly, this year Explore was invited back to give a full concert, which only reinforced that first impression from 2016. The same wasn’t true for all of the music they played: new music today has a lot of what might be called ‘eggshell music’, where there’s a pervasive sense that any moment, if one player was to articulate a note just too loudly or obtrusively, the entire piece would instantly crumble to nothing. It’s as tricky to achieve for composers as performers, and in the case of Steven Daverson‘s Elusive Tangibility II: Firelife, the results were far too ephemeral to amount to anything. In La sabbia del tempo, Fausto Romitelli injected his delicate soundworld with interesting bands of harmonic colour though, again, the long-term effect kept one at a bemused distance. The other two works in the programme were much more triumphant, and in some respects one sounded like an iteration of each other. Enno Poppe‘s Gelöschte Lieder was a whirlwind of mid-to-high register masses of details, rigorous, insistent and piercing. There were so many details, in fact, that at times it felt hard to penetrate, like trying to hack through a dense portion of jungle. Read more

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HCMF 2017: We Spoke, London Sinfonietta + Irvine Arditti, GGR Betong

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Yesterday at HCMF was decidedly mixed. Contemporary music-making aiming to be radical, at the cutting edge, obviously involves risk. That risk in turn requires a considerable amount of trust: from commissioners and investors, stumping up the cash; from performers, committing to learn and perfect the material; from concert organisers, providing a platform and technical support; and from audiences, sacrificing money and time to engage with it. That trust was sorely tested in the afternoon concert in Phipps Hall given by Swiss ensemble We Spoke. Not too terribly in H and B by Simon Løffler, works that put so much emphasis on their visual and physical aspects – the former involving tuning forks and a machine with four rotating blades, the latter a system of pedals illuminating three lights in different combinations – that their aural content felt impoverished and vapid by comparison; all very unfortunate, but not particularly uncommon in new music concerts. Fritz Hauser‘s Schraffur was less convincing and musically rich than in its recorded version, which i reviewed early last year; i wonder whether it was seeing the gong-based rhythmic scrapings going on that rendered the effect less impressive and diminished its uncanny long-term potential (the recording, let me stress, is very striking indeed). Yet while these works merely taxed our trust – and this was absolutely no fault of We Spoke, who executed each piece superbly – it was well and truly squandered by Hanna Hartman‘s Shadow Box. Its twelve minutes of cracking open eggs and nuts and punching bags filled with air (i came to empathise with how each bag felt) was less a performance – still less music – than a crime scene in which the Emperor had his entire wardrobe nicked. i don’t think i’ve ever witnessed that trust i spoke of being not merely wasted, but egregiously exploited; if Hartman has any talent at all, precisely none of it was demonstrated in this shamefully vacuous crap. Miraculously, despite all this it was worth attending the concert to experience Cathy van Eck‘s Wings, receiving its UK première. Her work involving performers interacting with loudspeakers is always fascinating, and Wings didn’t disappoint. A ballet involving three large panels slowly being re-positioned around the space, altering the nature, effect and accumulation of feedback generated from microphones around the stage facing a single loudspeaker at the back, was wonderful, effortlessly achieving what every other work in this concert singularly failed to do, creating a perfect, seamless, mesmeric marriage of sight and sound. Read more

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HCMF 2017: Gęba Vocal Ensemble, Zwerm

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A few days ago, in relation to the (non-)performance at HCMF of Lou Reed’s Metal Machine Music, i considered the question of what noise might be the opposite of, as a means to help defining what noise can actually be. But noise doesn’t have to be regarded as an opposite, or a polar extreme of a particular quality or characteristic, it can simply be something heard in relation to itself. i’m sure the late, great Polish composer Zbigniew Karkowski would have concurred with this. His unique take on noise seems to me to have been articulated primarily in two ways, either regarding and treating it almost like a physical substance, focused upon with a laser-like intensity, or to set it up as a kind of ‘default condition’, the starting point from which – and within which – development and exploration take place. From this latter perspective (pace Shakespeare and Alex Ross) the rest is neither silence nor noise: practically speaking, there is no “rest”, noise is all there is. We use a word like ‘atmosphere’ to refer to the general mood created by a piece of music, but in Karkowski’s case it’s a much more literal atmosphere, an environment in which noise is as ubiquitous as air.

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HCMF 2017: Shorts

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i’ve been starting to wonder in recent years whether HCMF’s annual ‘Shorts’ day – on Monday, filled with free concerts lasting either 20 or 40 minutes – is actually one of the festival’s main highlights, rivalling the flagship events on the two weekends. It’s certainly an opportunity for musical experiences unlike anything you’re likely to find elsewhere, and this year’s was no exception.

What struck me most was the way entire concerts – rather than individual pieces within them – cohered so entirely as to become akin to a single composition. In the case of Dominic Murcott‘s Harmonic Canon (a world première), this was an especially impressive achievement as the two parts of the work were separated by a gap of over six hours. The work is structured around the imposing form of a large double-bell, which becomes both the visual and musical epicentre of its two 21-minute movements for percussion duo. Two bells, two fundamental pitches (the bells are tuned a semitone apart), two movements, two players, two separate groups of instruments – and in other ways too duality is at the heart of Harmonic Canon. Read more

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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. 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: 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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HCMF revisited: Michael Cutting – I AM A STRANGE LOOP V (World Première)

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In just five days’ time, this year’s Huddersfield Contemporary Music Festival gets going. That’s a big deal anyway, but this is its 40th edition, so there’s even more cause than usual for celebration. As a warm-up, i’m going to spend this week revisiting a few of the more memorable pieces from the last few festivals. The recitals given by pianist Richard Uttley have been for me some of the most exciting HCMF concerts in recent years, always presenting a thoroughly unpredictable collection of works embracing both the lyrical and experimental aspects of the instrument (and of Uttley himself). At HCMF 2016, he gave the first performance of Michael Cutting‘s I AM A STRANGE LOOP V.

It’s the second piece Cutting has written for Uttley that involves the use of a Fender Rhodes piano. The first, This is Not a Faux Wood Keyboard (premièred by Uttley at HCMF 2015), captured and harnessed the piano’s actions through use of a loop pedal. For I AM A STRANGE LOOP V, this premise has been expanded by utilising a pair of reel-to-reel tape machines. In each of the work’s four movements, Uttley is required to record portions of his performance, which are then played back while additional material is played. In practice, the two tape machines become second and third instruments in their own right, leading to interesting and unpredictable passages of 2- and 3-part semi-recycled counterpoint. Read more

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