Mixtape #41 : Best Albums of 2017

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HAPPY NEW YEAR!!

As of today, 5:4 is ten years old, so first of all i want to say an enormous thank you to all of you who have read, commented, enjoyed, shared and supported this blog over the last decade, especially to my merry band of patrons. As this is a special year for 5:4, i’ve planned some exciting things for the next twelve months, all of which will be revealed in due course.

Meanwhile, i’m starting the year in traditional fashion, with a new mixtape featuring something from each and every album in my Best of 2017 list. It’s typically eclectic and non-partisan, and while in many respects last year may have left a lot to be desired, musically speaking this mix does at least prove that there was a great deal to consider and celebrate. Links to buy each of the albums can be found in the previous two days’ articles.

The mixtape can be downloaded or streamed via MixCloud as usual. Here’s the tracklisting in full: Read more

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Best Albums of 2017 (Part 2)

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* Please note this list has how been superseded by the one on the Best Albums of the Years page *

So here they are, the best of the best of 2017. Your CD racks and audio libraries would be so much better off with these incredible gems nestling among them. Read more

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Best Albums of 2017 (Part 1)

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* Please note this list has how been superseded by the one on the Best Albums of the Years page *

i started last year’s Best Albums of the Year list  concerned about whether or not such lists were a good, viable or indeed practical idea. This year finds me with no such reservations: lists are fun, lists are informative and inspirational, lists are just cool, dammit, and above all this particular list – in spite of its unavoidably provisional nature – is a great way to celebrate the most implausibly wonderful sounds that have entered my ears during the last 12 months.

In compiling this list, standard 5:4 rules (which i don’t think i’ve ever shared) apply: a composer or artist can only appear once, and reissues or re-recordings aren’t allowed, so the 35th Anniversary expanded edition of John Williams’ score for E.T. the Extra-Terrestrial, Kraftwerk’s 3-D The Catalogue and Jasun Martz’s Solo Exhibition: The Pillory, all of which would otherwise have appeared in my top 40, have been excluded. Also – and this was an eleventh hour decision – i haven’t included Brian Eno’s Sisters; whereas it’s a truly outstanding example of modern ambient that lives up entirely to Eno’s original ethos while making it sound fresh and new (or, more accurately, demonstrating how it never stopped having the potential to be fresh), it wasn’t a widely available release, given away to a select number of people who had bought Eno’s Reflection app, and only for a limited time. One hopes Sisters might see a proper release at some point, as it really is stunning. So bearing in mind these personal peccadilloes, here’s the first part of my round up of the year’s 40 best albums. Read more

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Ensemble Musikfabrik – Stille, Label Musikfabrik

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Let’s talk about Ensemble Musikfabrik. First off, the German ensemble is responsible for some of the most memorable and fascinating concerts i’ve ever attended. Their performances during the 2016 Huddersfield Contemporary Music Festival remain personal favourites, both the opening weekend concert – including among other things, Georg Friedrich Haas’ I can’t breathe and Marcin Stańczyk’s marvellous Some Drops, both showcasing trumpeter Marco Blauuw – and also the concert based around the ensemble’s fabulous recreations of Harry Partch’s microtonal instruments, featuring Claudio Molitor’s hour-long act of sonic wonderment, Walking With Partch. But even more than these, the concert that remains most affectionately in my memory – one of the most exhilarating concerts of my life – was their performance at the one-off Bristol New Music festival in 2014, where the combination of Partch’s And on the Seventh Day Petals Fell in Petaluma with a medley of works by Frank Zappa must rank as one of the finest acts of music-making that the city’s Colston Hall had ever experienced. What all of these concerts demonstrate is Musikfabrik’s generous and warm openness to all forms of experimentation, no matter how weird or ostensibly ludicrous, in conjunction with a level of determination and commitment that’s nothing less than absolute. Only an attitude like this could have led to the Partch instruments being so painstakingly and lovingly recreated, as well as to the development of new iterations of familiar instruments, such as their double-bell brass instruments.

The ensemble’s outlook is mirrored entirely on their recorded output which, more than most, goes a long way to capturing the vivid discombobulation of their concert performances. Their most recent disc, Stille, the twelfth in their ongoing series Edition Musikfabrik, is yet another case in point. It’s true to say that a Musikfabrik concert can and often does involve a certain amount of acclimatisation, and it’s also true for Die Bewegung der Augen by Evan Johnson. As with all four works on this disc, it’s a piece exploring silence, or rather the fact that silence “is never empty” (from Johnson’s programme note). Clearly the by-product of a lot more activity (in one form or another) than is audibly apparent, Johnson’s music here sounds private, not merely behind closed doors but positively internalised and miniaturised, as though we were privy to small-scale activities and actions that would otherwise be entirely oblivious to us. Its little bursts of material surrounded by silence gradually instigate a different mode of listening, one where i came to feel like the Incredible Shrinking Man, becoming smaller and smaller to the point that its tiny sounds and gestures yawned ever more impossibly above me. Beyond this, particularly in the second and third movements, a halting lyrical streak emerges that, in such a pint-sized context, sounds enormously poignant. Read more

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Kantos Chamber Choir – The Silver Stars at Play

Posted on by 5:4 in Advent & Christmas, CD/Digital releases, Seasonal | 1 Comment

‘Tis the season and all that, and while the majority of festive new releases are concerned with reheating the usual fare, there’s one new Christmas disc that i particularly want to single out. Called The Silver Stars at Play, it’s a collection of 23 contemporary Christmas carol settings, performed by the Manchester-based Kantos Chamber Choir, conducted by the choir’s founder Elspeth Slorach. i won’t go into my usual level of depth about the disc due to the fact it includes a setting of my own, and while i’ve long regarded objectivity and impartiality to be pretty mythical and irrelevant, for obvious personal reasons i would of course love everyone to go out and support the disc by buying as many copies as possible.

That being said, while music of this ilk is inevitably going to be a somewhat polarising affair, what makes this collection so worthwhile is its general avoidance of the kind of mawkish sentimentality and blank enthusiasm that one encounters in far, far too much Christmas music. In place of the former are broad, rich harmonic palettes, tonal but occasionally wayward. Andrew Cusworth‘s Of a rose synge we is the most sumptuous example of this, as well as being the most externally calm, though everything about it suggests inner joy and ecstasy. Matthew Coleridge‘s short but expansive and beautiful Balulalow is only marginally less lush, flirting with (but, mercifully, not embracing) the kind of harmonic writing redolent of US choral composers. John Turner‘s brave attempt at a new setting of Away in a Manger (retaining the established rhythmic scheme) is simpler, as is Peter Parshall‘s That yongë child, to gorgeously tranquil effect, while another lullaby, Mark Hewitt‘s Silent Night, rather nonchalantly sets out as though it’s nothing to do with the original carol before a number of dropped hints lead to a thorough reworking of it, its harmonies and rhythms both wonderfully convoluted. My own Infant holy, Infant lowly stays true to the original Polish melody (though using the correct original descending line as opposed to the misprinted version that one usually hears), with new harmonies designed to gently emphasise elements of the text.

However, it’s not all blissed-out devotions and adoration. 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

Posted on by 5:4 in Concerts, Premières | 2 Comments

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.

Read more

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5:4 on Patreon

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i’m taking a short breather from this week’s concerts and reviews from the Huddersfield Contemporary Music Festival to announce the launch of 5:4 on Patreon. It was in January 2008, almost ten years ago, that I started this blog, devoted to the most interesting, innovative and impressive contemporary and avant-garde music of our time. It all began in a pretty understated way with this article, simply sharing some recent sounds that had been catching my ear.

Since then, the blog has grown enormously, both in terms of the scope of my coverage and readership. I’ve written nearly 800 articles, including reviews of concerts and new releases, comprehensive critiques of new works, conversations with composers and performers, thematic explorations of new music, podcasts and mixtapes, retrospectives of composers and specific works/albums, and annual lists of the best music of the year.

A decade on, 5:4 is one of the very few websites committed to in-depth coverage and critique of new music. Alex Ross – music critic and author of The Rest Is Noise – has described the blog as “a powerful and uncompromising voice in the international new-music world”. My articles have been re-published in print periodicals, and are regularly quoted and cited in academic papers, articles, essays, and programme notes. The blog has therefore come to occupy a rare and important position in the discussion and outreach of contemporary music.

Personally speaking, 5:4 is now one of the most significant parts of my musical life, sitting equally alongside my activities as a composer and researcher. I love writing it; love the opportunity to introduce and explore new and unfamiliar music to a much wider audience; love being able to discover and share landmarks and pointers that help navigate a coherent way through new works; love being able to demonstrate how exciting and ground-breaking contemporary music can be, and how it can transform our understanding and preconceptions of the art.

Writing and maintaining 5:4 requires a lot of time and energy. A typical article takes anywhere from a couple of hours to a full day or more. I regard such a considered approach as this to be vital for a meaningful engagement with music. As a composer myself, I know just how much goes into the creation of even a single bar or a few seconds of sound. It deserves and needs respect and attention.

5:4 is free to read. There’s no paywall, no charges for reading certain articles, and this is how I want it to remain. And I want to take the blog much further, review a wider range of concerts and releases, record long-form dialogues with many more composers and performers, make in-depth explorations of individual pieces and albums, and create more podcasts. All of these things will expand further the contribution 5:4 makes to the discussion and understanding of contemporary music.

To do this, I need your help. With even a small donation each month, I’ll be able to bring a lot more time and ambition to the blog, and ultimately explore an even greater range of music in even more depth. So if you have found 5:4 an interesting, entertaining, useful or valuable resource over the last ten years, please do consider becoming a patron.

Thank you for your support!

HCMF 2017: Shorts

Posted on by 5:4 in Concerts, Premières | 2 Comments

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

Posted on by 5:4 in Concerts, Premières | 1 Comment

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: Aaron Cassidy – The wreck of former boundaries/Liza Lim – How Forests Think

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

Later today i’ll be jumping in the car to begin my annual pilgrimage to the Huddersfield Contemporary Music Festival, and it seems appropriate to conclude this week’s revisiting of previous years with mention of a recent CD featuring two larger-scale works that both received their first UK performances at last year’s festival. It’s pretty common to hear new music at HCMF and then lose all sight and sound of it for years afterward, due to a lack of further performances on these shores or a CD release. So it’s unusual and enormously welcome that within a year of hearing Australia’s foremost contemporary music ensemble ELISION perform Aaron Cassidy‘s The wreck of former boundaries and Liza Lim‘s How Forests Think, both are available on a CD released by Huddersfield Contemporary Records. Moreover, the recording is of that very same live performance at HCMF 2016 which, considering how exciting and immersive that concert was, makes it even more of a treat.

i discussed both pieces at length in my original review of the concert, and while this isn’t a new performance, this recording offers a fresh perspective of each piece, one that at times draws significant contrasts with the experience of hearing them live in St Paul’s Hall last November. Lim’s piece in particular left me with a lot of questions and concerns, some of which have been addressed by the CD. Read more

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HCMF revisited: Laurence Crane – Movement for 10 musicians

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One of the awkward aspects of attending the Huddersfield Contemporary Music Festival arises from the fact that, when choosing which concerts to attend, there’s an unavoidable fear that one will inevitably miss something fantastically memorable and/or stunningly ground-breaking. The next piece in my HCMF revisitings is a case in point, from a concert i ended up kicking myself for missing in 2013. The work began life in 2002 as Movement for Ensemble, composed for Dutch ensemble Orkest de Ereprijs who presented it at that year’s Gaudeamus Music Week. The following year another Dutch group, The Ives Ensemble, commissioned a slimmed-down version of the piece for a series of performances in conjunction with Rotterdam Dance Works, whereupon it became Movement for 10 musicians.

The entire piece is made from just three very basic ideas:

  • three chords, rising up a scale, emphasising the interval of a 6th, over a sustained pitch;
  • two chords, falling a semitone, with shared pivot notes;
  • a two-octave rising diatonic scale, in octaves, over a sustained pitch.

It unfolds like a cross between Ravel’s Bolero and Howard Skempton’s Lento. Crane repeats the first two of these ideas numerous times in groups of 2, 4 and 6, but despite how obvious these repetitions are, and the structural blocks they form, the piece is not first and foremost about this. Harmony is what ultimately demarcates the work’s overall structure, which falls broadly into four sections. Crane positions the music at a cadential liminal point, founded upon a tonality of E – floating between major and minor – with regular suspended fourths and sevenths that push and tilt it towards the key of A. Three of the work’s four sections do actually end with this cadence, though the way the chord of A is rendered – enriched with sevenths and ninths, but lacking a major or minor third – lends it both a harmonic conviction and neutrality that are entirely in keeping with the tonal fluidity that pervades the piece. Read more

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Ambient@40 conference

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

Next year will mark the 40th anniversary of the release of Brian Eno’s Ambient 1: Music for Airports, an album that established a manifesto, an aesthetic, an ideology and an archetype for ambient music. This is something i’m intending to celebrate and explore on 5:4 throughout 2018, but beyond this, i’m delighted to announce that at the end of next February there will be a conference devoted to ambient music, hosted by Huddersfield University, organised and chaired by Monty Adkins, Rupert Till and myself. The call for proposals was released yesterday, and the details are summarised below:


Ambient@40

Deadline: 17.00 (GMT), Friday 12th January 2018.

In the forty years since the release of Brian Eno’s Music for Airports the concept and aesthetics of ambient music have proliferated, influencing artists as diverse as Taylor Deupree, Steven Wilson, David Lynch and The Orb, infusing drone, microsound, minimalism and experimental electronic music as well as aspects of contemporary instrumental music. The aim of this two-day conference is to re-appraise ambient music in relation to Eno’s milestone release.

Ambient@40 will be hosted in the newly opened Oastler Building at the University of Huddersfield from Friday 23rd to Saturday 24th February. The programme committee invites proposals for:

a. individual papers (20 minute presentation with 10 minutes for questions and discussion);
b. performance and paper (10 minute per performance, 10 minute presentation with 10 minutes for questions).

The committee welcomes proposals from academics, independent scholars, research students and practitioners.

The conference will run alongside the Electric Spring Festival (www.electricspring.co.uk) and an evening concert on Saturday 24th February at the Festival will close the conference.

The program committee will also invite a selection of those giving papers to write them up in the months following the conference (deadline June 2018) as book chapters for publication in late 2018 / early 2019.

Submission and selection process

All proposals should be submitted to Prof. Monty Adkins (m.adkins@hud.ac.uk) by the deadline, Friday 12th January 2018 (17.00, GMT). Individual paper submissions should include an abstract (350 words) and an author biography (200 words). Performance and paper submissions should include a brief overview of the audio presentation including technical resources required (300 words), links to online samples of audio work, an abstract (350 words) and an author biography (200 words).

The committee aims to notify proposal authors of its decision by Friday 19th January 2018. Those selected will be asked to confirm their acceptance and technical setup. The full programme will be announced online and booking opened on Monday 22nd January 2018. The Ambient@40 conference registration fee will be £50 (£30 for students/concessions).

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