World Music Days 2019, Estonia (Part 1)

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

At the northernmost edge of Tallinn, looking out over the Baltic Sea towards Finland, is a huge concrete edifice called the Linnahall. Built during the Soviet occupation, it was constructed as part of the USSR’s hosting of the 1980 Olympic Games, as a coastal hub for the boating events. It’s a place i’ve gone to visit each time i’ve been in Tallinn during the last four years, to savour, and marvel at, its complete incongruity. Of course, Tallinn has the usual complement of modern office blocks, skyscrapers and the like, the scale and sharp edges of which are themselves at some remove from the more modest sizes and gentler inclines of the Old Town and the remains of its surrounding wall. But the Linnahall is different: it’s the personality, if you will, of the architecture that feels so completely alien: massive, brutalist, sprawling and immovable, a testament to human engineering, designed to make an enormous impact. It is, in every sense of the word, imposing. And everything about that, it seems to me, is at odds with the temperament of so much Estonian contemporary music, where the tone is more nuanced and focused, emphasising such things as contemplation and perhaps smallness, informed by the natural world, organicity and intuitive creativity, open to more than just what we immediately see and sense, less about making a big impact or impression than just unassumingly being one. The Linnahall is Tallinn’s ‘other’: as congruous to the city as an astronaut’s footprint on the surface of the moon.

This year, in celebration of the 40th anniversary of the country’s annual Estonian Music Days, the festival hosted the ISCM World Music Days, and even before setting off for Estonia i wondered if the bringing together of these two very different festivals would result in a similar kind of incongruity. Would it be EMD slash WMD, adjacent to each other; EMD and WMD, happening together but separate entities; EMD within WMD, one embedded in the other; or even EMD versus WMD? In previous years as i’ve tentatively begun to know better the thought and practice underpinning Estonian contemporary music, i’ve been (and continue to be) fascinated at its relationship with the rest of the musical world. Such as it is: i think it’s fair to say, putting it mildly, that the relationship is a complex one; i’ve detected varying quantities of disinterest and/or bemusement, and occasionally even hostility, toward what goes on beyond the country’s borders. So the effect of the collision of these two particular festivals was always going to be extremely interesting. Read more

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , ,

Fermata

Posted on by 5:4 in Announcements | Leave a comment

i’m setting off for Estonia this morning, to attend this year’s Estonian Music Days, which this year is not only celebrating its 40th anniversary but also hosting the ISCM World Music Days, so it’ll no doubt be an especially interesting occasion. Words to follow in due course.

Cat Temper – Henry (an electronic soundtrack to Eraserhead)

Posted on by 5:4 in CD/Digital releases, Movies | 2 Comments

The word ‘sacrilege’ doesn’t hold a lot of meaning for me, yet it was this very word that popped into my mind when i was contacted a couple of months ago by Boston musician Mike Langlie, a.k.a. Cat Temper, to let me know of his latest project Henry, being a new soundtrack for David Lynch’s 1977 debut movie Eraserhead. Longer-term readers of 5:4 will know that when i’m not composing, critiquing or listening to music, i’m usually to be found watching movies. Cinema is a life-long passion of mine, and David Lynch was one of the very first directors whose work i fell in love with during my early, highly impressionable teenage years. Eraserhead was, and remains, an astonishing achievement – a complex, immersive, disorienting dive into a surreal world that may or may not be part of our own, or indeed happening all or in part within the fevered imagination of its protagonist Henry Spencer. Furthermore, as with all of Lynch’s projects, the music and sound design – becoming one and the same thing, impossible to separate – are an integral component in Eraserhead‘s cinematic language. Put simply: you don’t fuck around with it; to do so would surely be sacrilege.

Yet, sitting down to watch Eraserhead a couple of weeks ago – sound muted, now synchronised with Cat Temper’s new score – i can happily admit to having goosebumps from the outset. This was a double-bill, in fact: i watched the film in its original form first, in order to re-imprint its sound-image relationship and thereby be better placed to appreciate the effect of Temper’s music. The first thing to say is that Henry never overtly seeks to emulate the film’s original soundworld: in place of Lynch’s industrial mise en scène we are presented with an intense, brooding, synth-laden score filled with restless riffs and pulsating rhythms – David Lynch as if reconfigured by Nicolas Winding Refn. Quite apart from its potential effectiveness, opting to take such an entirely different, even opposite musical approach as this has got to be applauded: whatever else it may be, it’s bold, it’s brave and it’s ballsy. Read more

Tags: , ,

The Dialogues: Anna Þorvaldsdóttir

Posted on by 5:4 in Interviews, The Dialogues | 4 Comments

i’m excited to present a new instalment in my series The Dialogues. On this occasion, i’m in conversation with Icelandic composer Anna Þorvaldsdóttir, whose music has become increasingly well-known in recent years. In the UK, her work has started to appear with more frequency on concert programmes, and there’s a chance to hear her most recent orchestral work, METACOSMOS, at the Proms over the summer (and a CD including the piece will be coming out around the same time). While her reputation is growing, detailed explorations and studies of her work are pretty scarce, so our Dialogue will, i hope, substantially increase understanding of Anna’s musical outlook, intentions and methods.

We met at her home at the end of November last year, and i want to express my appreciation to Anna, her husband Hrafn, and to their beautiful cat Mosi (who sharp-eared listeners will briefly hear at one point) for their generous time and hospitality. i’m also very grateful to Sam Wilcock at Music Sales for festooning me with assorted scores and recordings to help with my research and preparation for the Dialogue. For more information about Anna’s music, check out her website, she also has a YouTube channel featuring a number of pieces, and there’s plenty available on Spotify.

As in all the Dialogues, i’ve included numerous excerpts of Anna’s music throughout to illustrate and elaborate upon the various topics of our discussion. A list of these excerpts, and the times when they occur, can be found below, together with links to buy the music. The Dialogue can be downloaded from the below link or streamed via Mixcloud. Read more

Tags: , , , ,

Veronique Vaka – Lendh (World Première)

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

To bring this year’s Lent Series to a close, i’m returning to a piece i first heard a few months ago, during Iceland’s Dark Music Days festival. One of the most memorable works from that week in Reykjavík was Lendh, by Canadian composer and cellist Veronique Vaka. In her programme note, Vaka talks about the work’s inspirational roots in nature, specifically to a geothermal area in south-west Iceland called Krýsuvík. Lendh can therefore be thought of as something like a ‘subjective translation’ of that region into sound. Although Vaka isn’t originally from Iceland (though she is based there), her piece is very much part of a prevailing orchestral tendency in Iceland (also prominent in the music of Anna Þorvaldsdóttir) toward impressionism, in which the qualities and forces of nature are not so much depicted as become metaphors for abstract musical impressions.

Fundamental to the way Vaka uses the orchestra in Lendh is the creation of a large, multifaceted but cohesive unit that sounds just as much rooted in biology as geology. There’s a sense of groups of instruments acting as component parts of a larger organic entity – one might almost call them muscles or tendons – that together act to make the music move and flex. The key thing about this is that the orchestra is working as one, where individual actions are of lesser importance (in terms of being perceived) than the larger formations of which they are a crucial part. Read more

Tags: , , ,

Proms 2019: looking forward

Posted on by 5:4 in Announcements, Festivals | Leave a comment

The programme for this year’s Proms season has been unveiled today. Looking at it from a contemporary music perspective, last year’s season has been revealed (as expected) to have been a one-off of surprising generosity. In 2018 we ended up with no fewer than 39 premières, whereas the usual figure is somewhere around half that. For 2019, contemporary music has been scaled back again, with a total of 30 world, European or UK premières.

The world premières dominate: there are 17 of them, from Zosha Di Castri (whose new work Long Is the Journey – Short Is the Memory gets the season up and running on the opening night), Hans Zimmer (yes, i know), Alexia Sloane, Outi Tarkiainen, Huw Watkins, Errollyn Wallen, Joanna Lee, Jonathan Dove, Dieter Ammann, Alissa Firsova, Ryan Wigglesworth, Dobrinka Tabakova, Linda Catlin Smith, Freya Waley-Cohen, Jonny Greenwood and, kicking off the last night knees-up, Daniel Kidane. There’s also a quartet of new works inspired by movements from J. S. Bach’s Orchestral Suites by Stuart MacRae, Nico Muhly, Ailie Robertson and Stevie Wishart, and a joint world première birthday present for conductor Martyn Brabbins, put together by a veritable cluster of the great and the mainstream that will no doubt be the absolute epitome of a curate’s egg. The European and UK premières are by Anna Þorvaldsdóttir, Peter Eötvös, Benjamin Beckman, Detlev Glanert, John Luther Adams and Louis Andriessen. Overall, it’s hardly the most scintillatingly imaginative choice of composers, but then, it’s the Proms. The gender balance is starting to approach parity, so that’s at least something to celebrate.

Of the rest of the season, highlights include the chance to hear the Will Gregory Moog Ensemble together with the BBC Concerto Orchestra (Prom 11, 26 July), Messiaen‘s epic Des canyons aux étoiles… with pianist Nicolas Hodges (Prom 13, 28 July), James MacMillan‘s Proms favourite The Confession of Isobel Gowdie (Prom 19, 2 August), Takemitsu‘s exquisite Twill by Twilight (Prom 28, 8 August), Sofia Gubaidulina‘s Fairytale Poem (Prom 42, 18 August), Simon Rattle conducting the LSO in Varèse‘s Amériques (Prom 44, 20 August), Hugh Wood‘s Scenes from Comus (Prom 53, 29 August), and the inaugural concert of the all-new Knussen Chamber Orchestra (Proms at Cadogan Hall 8, 9 September).

The season begins in just over three months’ time, on 19 July; full details about all the concerts are available on the BBC Proms website and tickets go on sale on 11 May. Below is a summary of the premières: ** = world, † = European and * = UK. Read more

Tags: ,

Marc Sabat – The Luminiferous Aether (World Première)

Posted on by 5:4 in Lent Series | 2 Comments

What happens in a composition, both in terms of moment-by-moment activity as well as long-term direction, can sound highly organised and micro-managed or spontaneous and accidental (not necessarily reflecting the way in which they were composed, of course). More interesting is when a piece blurs that distinction and sounds like a complex mixture of the two, as is the case in Canadian composer Marc Sabat‘s 2018 orchestral work The Luminiferous Aether. The work’s title comes from the mysterious material once postulated to exist throughout the universe, comprised of a substance that would act as the medium for carrying light (luminiferous) while, miraculously, having no effect at all on any of the bodies moving through space. The aether was disproven conclusively in the late 1880s and subsequently consigned to history with Einstein’s theory of relativity. Yet the historical conception of the aether – of something manifesting everywhere yet being neither understandable, explainable nor detectable – is one of the driving forces behind Sabat’s piece.

As i’ve already indicated, there’s a clear sense pervading The Luminiferous Aether that order and chance are equally likely to be the cause of what happens in the music. It’s not difficult to hear the work as akin to a journey through space, randomly encountering varying quantities of density and void, disarray and alignment. As such, it brings to mind Poul Anderson’s 1970 hard sci-fi novel Tau Zero, where a damaged spacecraft – stuck in the unfortunate position of being in an unstoppable state of permanent acceleration – passes through huge intergalactic distances in relatively short periods of time, arbitrarily encountering regions of emptiness, matter, pattern and noise. Quite apart from its resemblance to what happens in The Luminiferous Aether, what i also like about that analogy – though i’m not for one moment implying the music has any connection at all to the novel – is that it introduces a cosmological aspect that might not suggest itself when listening to the piece, that of vast distances and speed manifesting in apparently slow rates of movement and change. It’s a valuable paradox to hold in mind. Read more

Tags: , , ,