Schnittke Week – Concerto Grosso No. 6, Monologue, String Trio & Concerto for Three

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Day three of my celebration of the music of Alfred Schnittke features music from a concert focusing on works involving solo strings, broadcast on 14 January 2001. Taking centre stage are soloists Ula Ulijona (viola), Marta Sudraba (cello), and the great violinist Gidon Kremer; they’re joined by the London Sinfonietta, directed by Eri Klass. In addition, there’s a fascinating survey by Gerard McBurney of Schnittke’s relationship with the Concerto Grosso form; apologies for the sound quality in these sections, which have become rather crackly for some reason.

Schnittke’s sixth Concerto Grosso is also his last, composed in 1993, and it’s a short work, the three movements lasting under a quarter of an hour. After a momentary—rather angry—pondering from the piano, the short first movement lets loose into a non-stop Allegro; far from taking a neo-continuo role, the piano’s relationship to the strings is more like that of a concerto, with distinct echoes of Shostakovich at times. Structurally, it’s highly formal, almost the entire movement repeated in its entirety before a wildly exuberant coda. The central Adagio is a duet for piano and solo violin, very simple at first, although this only goes to highlight an apparent discomfort between the two instruments. Read more

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Schnittke Week – Concerto Grosso No. 1, Fragments (World Première) & Symphony No. 4

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The second concert being featured in this week of music by Alfred Schnittke comprised two of his major compositions plus the world première of a work unfinished at his death. It took place on 13 January 2001, and was given by the London Sinfonietta, conducted by Martyn Brabbins.

The concert began with perhaps Schnittke’s most-performed work, the Concerto Grosso No. 1. Opening movement ‘Preludio’ begins on prepared piano, gently clattering its way through a nursery rhyme-type melody. It’s answered with a hocketed idea in the solo violins, rocking back and forth on adjacent semitones (one can see already where this may be going: clusters a-go-go), while the lower strings form a backdrop of sustained harmonics. There’s a brief soloistic flourish in the violins, the violas slither down their strings to a bottom pedal note, the harpsichord teases its keyboard, and a gorgeous second idea begins. Above a glacial viola chord, a violin solo explores a melody at the bottom of its register; it’s not specified in the score, but in this performance Clio Gould opts to play near the bridge, making the line effectively fragile, and causing some delicious overtones to appear at the edges. A duet is formed, and the harpsichord re-announces the nursery tune; a curt, loud response in all the strings (tutti for the first time), brings the movement to an end, the violins’ hocketing idea now widened from a semitone to sevenths and ninths. You’d be forgiven for thinking a composer like Vivaldi had a hand in the second movement. Titled ‘Toccata’, it’s a diabolical parody of Vivaldi, overstuffed with ridiculously strict and stretto canons, Schnittke at his most caustically comical. Read more

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Schnittke Week – String Quartets Nos. 2 & 3, Piano Quintet

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The coming week sees the anniversary of the birth of one of Russia’s most outstanding composers, Alfred Schnittke, born on 24 November 1934. 5:4 is therefore devoting this week to his music, focusing on works that were included in the Barbican’s ‘Seeking the Soul’ festival, in January 2001. Having kicked around in the archive for almost a decade, these recordings were originally on cassette, and (i think) have been cleaned up on several occasions, but the sound quality isn’t too bad considering.

Schnittke’s String Quartet No. 3 was composed in 1983. The opening movement (Andante) is filled with melodic intentions, the quartet’s gestures all concerned with making something from small fragments (originating in quotations from Orlando di Lasso and Beethoven, plus Shostakovich’s D.S.C.H. motif). At times, this common aspiration is made more complex by a sense of conflict in the individual parts, torn between working as an ensemble or forging ahead by themselves. Such an emotionally neutral term as ‘Andante’ suggests nothing of the intense air of melancholy permeating the movement, made yet more telling through Schnittke’s frequent rendering of the players in the guise of a consort of quasi-viols. The blatant tonality heard at the start of the central movement is jarring, although it’s lost within moments; despite being labelled ‘Agitato’, no little time is spent occupied with dark, brooding material. Read more

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Björk – The Breezeblock & Mixing It Specials

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It’s more than a little staggering to realise that today is the 45th birthday of one Björk Guðmundsdóttir, an artist i’ve followed for the entirety of her solo career and continue to admire very much (one day, i hope to explore her complete output here—when i have a couple of spare months to devote to it, that is…); to mark the occasion, two special items from the 5:4 archive.

First is my complete recording of Mary Anne Hobbs’ Breezeblock Special, devoted to Björk, broadcast on 26 October 2004. Björk’s one-hour mix—in which every song is introduced at length by Björk herself—is wonderfully diverse, and a fascinating insight into the kind of music she finds inspirational, unsurprisingly including a number of artists with whom she’s been associated: Matmos are represented by ‘Regicide’, by no means their greatest track, while 808 State‘s ‘Cübik’ may well be their finest hour (although it’s not aging well).

Kukl, the ’80s band in which Björk was vocalist, is described by Wikipedia as an ‘anarcho-punk’ group, but if ‘Dismembered’ is typical of their music, it’s much too tame for an epithet like that; regardless, it’s pretty enjoyable stuff, the seed of what would become The Sugarcubes (conspicuously absent from the programme). and there’s plenty of Björk’s solo music too; the glorious ‘Hyperballad’ (her most remixed song) opens the programme, and there are two tracks from her superlative album Medúlla, released a couple of months earlier that year, performed live at Maida Vale; they’re remarkable versions of the songs—an Inuit choir, a bell orchestra and a throat singer are all involved—and while ‘Who Is It?’ was included on one of the CD singles of that song, as far as i know ‘The Pleasure Is All Mine’ has not yet found its way onto an official release.

For the rest, despite the presence of one or two distinctly damp squibs (Kid 606‘s ‘Sugarcoated’ is a definite “must try harder” effort, and DAF‘s ‘Sato Sato’ quickly palls), the programme is an enthralling listen, and goes a long way to elaborate the more unconventional sounds and textures that have become ubiquitous in Björk’s output from Vespertine onwards. Read more

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St Martin’s in the Bullring, Birmingham: The Irrepressibles

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i can’t let the week come to an end without making some comment about a concert i attended last Wednesday in Birmingham. Hosted by the church of St Martin’s in the Bullring—finally getting itself really sorted as a top-notch concert venue (my ensemble Interrobang performed there back in May)—it was the second in a short series of gigs given by the remarkable group The Irrepressibles, whose debut release Mirror Mirror has been jangling around in the 5:4 jukebox for most of this year.

The prospect of support acts always sets me on edge; many’s the time my eager anticipation for a concert has been dissipated by a support act unworthy of or unsuited to the occasion. Not so in the case of Thomas Truax, one of outsider music’s more ingenious and genuinely entertaining figures, every bit as irrepressible as the headline act. He brought a cluster of his trademark handmades, including ‘Mother Teresa’ (replete with “removable limbs”), the off-kilter rhythmic patter of which lends Truax’s songs a wonderfully unbalanced quality, and perhaps his most famous accoutrement, the ‘Hornicator’, a cross between a brass instrument and a gramophone horn, which Truax sang through and percussively struck with gusto Read more

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Stephen McNeff – ConcertO Duo (World Première); Kaija Saariaho – D’OM LE VRAI SENS (UK Première)

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A fortnight ago, the BBC Symphony Orchestra celebrated its 80th birthday with a concert including a pair of premières, both concertos: one for percussion by Stephen McNeff (composed for the boisterous O Duo) and a clarinet concerto from Kaija Saariaho.

McNeff instructs the orchestra to establish the mood, the first few minutes of the opening movement filled with big, emphatic gestures. The contrast of the soloists’ entry—starting simply, using only their hands to slap, brush and tickle the instruments—is massive, and makes for a highly effective start. Influences quickly fly in both directions; the soloists echo and maintain the considerable momentum already established; in return, the percussion’s abrupt, restless material leads to hectic, spikey figurations in the orchestra. A marimba idea heralds a dramatic reduction in tempo, and with it a lyrical episode, in which the strings’ music is especially rich, their harmonies familiar but searching. The remaining few minutes are a tussle between these two moods, the more frantic ideas thrusting forth when they can; and while it’s the softer ripostes that ultimately claim the movement, the brass and timpani colour its conclusion with some brief, rather obstreperous gestures. Read more

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Ironomi – Sketch

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While stereotypes abound when discussing music emanating from the east, an acute sensitivity to the machinations and subtleties of nature seems to be an unmistakable, almost ubiquitous characteristic. This, complimented by a profound kind of simplicity, sets such music apart from the preoccupations of the west, which so often gravitate to extremes, either abounding in cerebral filigree or playing around in frothy, superficial nonsense.

For the last few years, Japanese duo Ironomi (いろのみ) have been exploring their own response to the world around them, with a particular interest in the seasons. Pianist Junya Yanagidaira is invariably found in the foreground, generating a seemingly eternal stream of improvisations; at the fringes is Yu Isobe, using his laptop to weave impossibly delicate and restrained contexts for the piano. Despite the prevalence of the piano in contemporary ambient music, their combined approach is a distinctive and somewhat unusual one, demonstrated to good effect on a cluster of releases, of which Recode (2008) is arguably the most assured. Read more

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