A moving aria for a vanishing style of mind: Scott Walker – The Drift

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i avoid superlatives whenever possible. If people ask me (and they do, surprisingly often) to name a favourite composer or artist or album, i invariably either deflect the question away—”i don’t really have one…”—or reflect it back at them—”i’m not sure; how about you…?”). For the most part, the best one can hope to come up with, á la Paul Morley, is a list of favourites that is true at that moment, but would be different, perhaps entirely so (but no less true), at any other time. (Morley writes about this, and many other wonderful things, in his book Words and Music, which right now i might describe as the most brilliant book about music ever written, but tomorrow, who knows…?). Hence my aversion to superlatives, and their transient—and, in any case, subjective—character. Sometimes, though, one encounters something so incredible, so marvellous, so utterly different from anything else hitherto encountered, that superlatives become the only meaningful way to express anything remotely accurate. Not surprisingly, this doesn’t happen often, despite the large amount of music to which i listen, and so when it does, it’s a real shock, a gorgeous surprise, an ineffable thrill, a rapturous provocation of everything from confusion and disbelief to gasps and tears. And as i say, when the stun and stammering have passed, one is left reaching for the acmes of language. Read more


Live in Prospect Park: Metropolis Ensemble and Deerhoof

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i’m surprised there’s not more comment on the web about the recent concert given jointly by the Metropolis Ensemble and Deerhoof, which took place in July in Brooklyn as part of the Wordless Music series. This had been hyped up a fair bit beforehand, partly because it was bringing together two groups who have a very modern outlook, but mostly because it featured a new take on The Rite of Spring. WNYC broadcast the entire concert online; surprisingly, no-one seems to have recorded it, so links to my own recording are below. Also, some excellent photos from the concert can be seen at WNYC’s Flickr page. Now, to the music…

Metropolis Ensemble’s hour-long half of the concert began with Two-Part Belief by composer Ricardo Romaneiro, for soprano and electronics. From the gently flamboyant opening, there’s an interesting initial interplay between the electronics and the powerful melodic line, delivered superbly by soprano Hila Plitmann, who is at times required to soar extremely high. The relationship quickly becomes unclear, however, and at times the electronics seem hell-bent on undermining the soprano line, which surely isn’t the intention. At best, the electronics create an evocative, shifting backdrop for the soloist, although this is often disrupted by its gestural quality. Overall, there’s something rather primitive about the electronics’ contribution in this piece; the composer’s enthusiasm is perfectly evident (and this does, actually, go some way to covering some—not a multitude—of his sins), as is his enjoyment of the sounds he’s creating; what’s lacking is real imagination. The brass make strangely occasional contributions, and it’s a huge shame they weren’t involved throughout, as the texture at these moments is truly exciting and gives a hint of what might have been. Read more

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Respectable anarchy: Operator Please

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Ok, let’s get things going again with a band i’ve been meaning to write about for a long while. i’m assuming Operator Please will be well-known to many, but i’m not sure that would have been the case, say, 9 months ago, as their profile seems to have increased significantly this year. Teenage rock bands don’t exactly have an illustrious lineage, but Operator Please—perhaps due to being Australian, which often seems to inject something ‘quirky’ (i.e. non-British) into the mix—stands apart from the posturing, arrogance and emotional tedium that drench and encapsulate the usual adolescent twaddle. It’s not just their antipodean credential though; the band is an interesting mixture, including a violinist, which has helped to cultivate an individual sound. There’s a certain amount of confusion that surrounds their releases, due to differences between Australian and British versions; this has been compounded by the very peculiar way these releases have been made available on the iTunes Store. Read more



Posted on by 5:4 in i | Comments Off on Fermata

Tomorrow, the Beloved and i set off for a little over 2 weeks’ exploration of “Na h-Eileanan Siar”: the Western Isles, beginning on Skye and then gradually moving beyond into the Outer Hebrides. Therefore, a short hiatus here on 5:4; enjoy the silence.

James MacMillan – String Quartet No. 3 (World Première)

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Here’s a recording of James MacMillan‘s most recent work, the String Quartet No. 3, premièred by the Takacs Quartet on 21 May, at the QEH in London. i don’t know either of MacMillan’s previous two quartets, but this new addition is a fairly ambitious work. MacMillan speaks in his preliminary discussion (illustrated with examples by the Takacs) of the melodic, cantabile quality of the material, and this is highly evident throughout, especially in the lyrical first movement, the principal theme of which has a distinct Jewish flavour. Strange, disjunct gestures begin the second movement, ominous and disquieted. From them, melodic fragments appear, many of them cast from a similarly disquieted mould: the viola embarks on a short restless journey, buzzing like an angry bee; later all four combine to sound like a heavily wheezing concertina. On a couple of occasions, dance figurations try to assert themselves, only to be thrust brusquely back into the maelstrom and promptly dissipated; the movement ends much as it began, one of MacMillan’s most fascinatingly strange creations. The lyricism returns for the final movement, which is the most conservative and familiar of the three. It is all melody, led powerfully by the first violin, charting a trajectory into the most achingly high regions of its E string, its three companions forming a supportive trio at its base. At the summit, it repeats plaintively, and everything turns harmonic, fading into transparency. Read more

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Choral Evening Prayer (Buckfast Abbey): music by Philip Moore

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It’s been a while since i’ve featured Choral Evensong on here; they really haven’t been terribly interesting of late. However, today’s service of Choral Evening Prayer took place during the annual Exon Singers Festival from Buckfast Abbey in Devon. Buckfast is a place close to my heart; i’ve been there a number of times, and it’s a sublime, gorgeous place, with spacious gardens populated by a plethora of types of lavender, and its shop selling monastic goods from around the world, including the renowned and highly-charged liqueur Chartreuse. A thriving monastery, it’s not surprising that the worship from Buckfast should be measured and thoughtful, offered with the greatest of care, making it a dual delight for the listener, both in terms of style and content.

Focus of the service was on composer Philip Moore, former director of music of York Minster. Read more


Mix Tape #7 : Ambient

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To conclude the little series of posts about the “ambient tradition”, here’s a new mixtape devoted to this special genre. It’s the hardest mix i’ve made so far; the temptation was, perhaps, never to stop, to create a compilation that could play into infinity—which is, after all, the point towards which the best ambient music inexorably tends. Some of the composers i’ve written about are included, but not all; the music of neither Steve Roden nor John Hudak lends itself well to this kind of mix, best heard in their own, very particular, contexts. Therefore, some additional names surface here, about whom i’ve hitherto been silent, but no less excited. Read more

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