HCMF 2017: looking forward

Posted on by 5:4 in Announcements, Concerts, HCMF | 3 Comments

i’ve just returned from a few days in Poland, and before i get started on catch-up reviews of Cheltenham and the Proms, at a press conference in Warsaw a couple of days ago a slew of new announcements were made about this year’s 40th edition of the Huddersfield Contemporary Music Festival. Last month, it was announced that there’s to be the world première of a large-scale new piece by James Dillon performed by his compatriots Red Note Ensemble, as well as the first UK performance of Brian Ferneyhough‘s even more large-scale work for string quartet and ensemble Umbrations, by Ensemble Modern and the Arditti Quartet (my review of the world première is here). There are also going to be concerts focusing on Linda Catlin Smith, featured in the first part of Another Timbre’s recent Canadian Composer Series, and the late Pauline Oliveros; each composer’s music is explored in two concerts, Smith’s by pianist Eve Egoyan and Philip Thomas with the Bozzini Quartet, Oliveros’ by Riot Ensemble and the combined forces of ICE Ensemble, Distractfold and the wonder that is Fritz Hauser.

Newly-announced on Monday are events pertaining to the ongoing collaboration HCMF has had with Polish music since 2015, now entering its third and final year. This October marks the 60th anniversary of the Polish Radio Experimental Studio, the work of which is going to be celebrated in an audio-visual exhibition at Huddersfield Art Gallery running for the duration of the festival, in addition to a series of accompanying talks and performances. Music by one of the Studio’s key figures, Bohdan Mazurek, will be presented in a pair of late-night concerts in Bates Mill Photographic Studio, given by Jacek Sienkiewicz and Valerio Tricoli respectively. Also in the Photographic Studio will be a laptop and tape concert by German musician Thomas Lehn, performing music by Bogusław Schaeffer. Beyond this, there’s another extremely rare opportunity for UK audiences to hear Zbigniew Karkowski‘s music: his 40-minute work Encumbrance, for voices and electronics, will be performed by Gęba vocal ensemble, in addition to music by Kryzysztof Knittel and Antoni Beksiak. Dai Fujikura has written a new piece for the Polish Radio Choir, the second of a two-part work, which will be receiving its first performance in this complete version, alongside works by Polish composers Wojtek Blecharz (about whose Body-opera i shall soon be writing) and Agata Zubel, and Riot Ensemble will also be performing a new work by Nikolet Burzynska.

So, here’s how the festival looks so far (some times/locations still to be confirmed); more info coming soon.

Friday 17
  • James Dillon: new work (World Première) / Red Note Ensemble (St Paul’s Hall)
Saturday 18
  • Brian Ferneyhough: Umbrations (UK Première) / Ensemble Modern & Arditti Quartet (St Paul’s Hall)
  • Focus on Linda Catlin Smith / Eve Egoyan
  • 23:30 Jacek Sienkiewitcz (electronics) plays Bohdan Mazurek (World Première) (Bates Mill Photographic Studio)
Sunday 19
  • Focus on Linda Catlin Smith / Philip Thomas & Bozzini Quartet
  • 15:00 Dai Fujikura – two-part work (Part 1 – UK Première, Part 2 – World Première), works by Wojtek Blecharz & Agata Zubel / Polish Radio Choir (Huddersfield Town Hall)
Tuesday 21
  • 17:00 Zbigniew Karkowski – Encumbrance (UK Première), works by Kryzysztof Knittel and Antoni Beksiak / Gęba Vocal Ensemble (St Paul’s Hall)
Thursday 23
  • 21:30 Thomas Lehn (laptop & tape) plays Bogusław Schaeffer (Bates Mill Photographic Studio)
Friday 24
  • 17:00 programme includes Nikolet Burzynska – new work (World Première) / The Riot Ensemble (St Paul’s Hall)
  • 23:30 Valerio Tricoli (electronics) plays Bohdan Mazurek (World Premiere) (Bates Mill Photographic Studio)
Saturday 25
  • Focus on Pauline Oliveros / ICE Ensemble, Distractfold & Fritz Hauser
  • Focus on Pauline Oliveros / The Riot Ensemble

Proms 2017: pre-première questions with Roderick Williams

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Today’s Proms première is by renowned baritone Roderick Williams, whom many may not have realised – as i didn’t, until relatively recently – also has a sideline in composition. In preparation for the first performance of his new work Là ci darem la mano at Cadogan Hall this afternoon – in a concert otherwise devoted to the music of Monteverdi – here are his answers to my pre-première questions. Many thanks to Roderick Williams for his responses and to Francesco Bastanzetti at Groves Artists for acting as go-between. Read more

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Proms 2017: Tom Coult – St John’s Dance (World Première)

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And we’re off: the first performance of Tom Coult‘s new orchestral work St John’s Dance got the 2017 Proms season up and running last night, courtesy of the BBC Symphony Orchestra conducted by Edward Gardner. i’ve only really scratched the surface of Coult’s music, having heard two earlier works in the last couple of years, Codex (Homage to Serafini) and Spirit of the Staircase, premièred in 2014 and 2016 respectively. They’re both interesting pieces (i’ll aim to feature them on 5:4 when i get a chance), but the thing that stood out most in them was Coult’s very particular approach to pace and direction. i need to qualify that by saying my initial impression was that, in each case, these aspects seemed a bit off, but returning to them since, i’ve wondered whether in fact Coult actually succeeds in pulling it off through a mixture of audacity and simple unpredictability. Read more

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Proms 2017: pre-première questions with Tom Coult

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

Tonight, this year’s Proms season kicks off in earnest, and once again i’ll be reviewing all of the contemporary pieces receiving world or UK premières. As an extra feature this year, i’ve interrogated some of the featured composers with a short series of questions, the answers of which hopefully will provide a little extra insight into each composer and their music, both generally and specifically with regard to the piece being premièred at the Proms. First up is British composer Tom Coult, whose new work St John’s Dance gets the season up and running this evening. Many thanks to Tom for his responses; you can also read the programme note of his piece after the questions. Read more

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Cheltenham Music Festival: Tenebrae

Posted on by 5:4 in Cheltenham Music Festival, Concerts | 2 Comments

What is it with British contemporary choral music? i found myself asking that question constantly during the fourteen minutes of Footsteps, the work that opened last night’s Cheltenham Music Festival concert in Tewkesbury Abbey, given by the vocal ensemble Tenebrae. It perhaps goes without saying that one makes a double set of allowances when considering contemporary music for choirs. Within British life and culture, such music is focused almost entirely within the realm of religious services. If you’re thinking the next step of this argument is to stress how such choirs are invariably amateur, and therefore unable to handle the more imaginative machinations of contemporary musical thought and practice, then (up to a point) i don’t really believe this to be true. Speaking as one who has both participated within and directed choirs, the religious faithful of the British Isles are among the most culturally conservative people i have ever encountered, for whom dissonances are iniquities to be temporarily endured until the resolution that will – must! – surely come.

This, as far as i’m concerned, is the primary allowance that one is forced to make when considering British contemporary choral music. Much of it can be regarded as functional, and as such needs primarily to please the people for whom it functions. i’ve said this before, quite a while back now, but tuning into any weekly broadcast of choral evensong on Radio 3 is to travel back in time and step into the aural equivalent of a museum, music trapped in aspic, and this is for the most part no less true when contemporary music is included. The amateur aspect is the secondary allowance one usually has to make, but this obviously doesn’t apply when the music is written for choirs of a high standard, such as Tenebrae. But wouldn’t it be nice if composers of this stuff could challenge the necessity of these allowances, reach a little further and employ some of that spirit of adventurous, unafraid, fundamental questioning of the conventional way of doing things that supposedly underpins – indeed, inaugurated – the very faith for which their music is being written? After all, institutions, if they progress at all, do so at a pace that—well, to call it glacial would be a compliment (just look at the Church of England’s ongoing inability to accommodate, let alone accept, gay people in their midst). So what is it with British contemporary choral music? What on earth are their composers so afraid of? Read more

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Cheltenham Music Festival: Love Songs

Posted on by 5:4 in Concerts, Premières | 19 Comments

Last night saw the second concert of this year’s Cheltenham Music Festival to be almost completely devoted to contemporary music. i described the previous one, with E STuudio Youth Choir, as being “a mixed bag of confections”, and the same applies to this event, a piano recital titled ‘Love Songs’ by William Howard. The location and context were perfect: the Pillar Room in Cheltenham’s grand Town Hall, a relaxed space that, following a sweltering day, throbbed with humid heat.

Howard has commissioned an assortment of composers to write short works that could be described as love songs, but a couple of points about the outlook of this project are immediately problematic. First, Howard makes some decidedly odd introductory remarks, claiming that, due to the associations of the ‘song without words’ form with the Romantic era, to “commission a piano love song from a living composer might seem eccentric, or, in the case of a composer who writes abstract music, a meaningless or impossible challenge”. This was backed up by composer David Matthews’ programme note, which alleges that the “Romantic musical language of the 19th and early 20th centuries was ideally suited to the love song, far more than the various languages of our own day”. Both of these statements are the rankest fallacious nonsense. The expression of love, i would venture to aver, has been around for rather longer than the brief Romantic era, and does not have to come pre-packed with its aesthetic, style, manner and content already determined; when it does, it’s as impersonal and generic as a Hallmark™ greeting card. Second – and in light of the first point, this becomes more understandable – the range of composers chosen by Howard, though diverse, is demonstrably conservative in style, and while this is not a slight on any particular composer featured, it does a disservice to the much wider range of composers working today who presumably find no difficulty in being of a more ‘abstract’ musical disposition while still being able to both experience and express love. Read more

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Cheltenham Music Festival: E STuudio Youth Choir

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In the wake of my experiences at this year’s Estonian Music Days, extended in my recent weekend of articles focusing on the country’s choral music, yesterday’s late evening concert at St Matthew’s Church in Cheltenham was a real treat. It featured a choir new to me, the E STuudio Youth Choir, formed in 2012 and based in Estonia’s second largest city, Tartu. The concert was something of an ambassadorial occasion, marking the country’s presidency of the European Council and exploring a mixture of home-grown and international contemporary repertoire. Three conductors – Eliisa Sakarias, Jaanus Karlson and Külli Lokko, who was originally responsible for founding the choir – took turns in a programme that’s best described as a mixed bag of confections.

Put another way, if one thing characterised the thirteen pieces performed in the concert, it was a quality of sweetness, music that sought expression in varying degrees and interpretations of consonance. (While Estonia does, as i’ve written about previously, have a decidedly experimental side, it tends to rear its head less in choral music.) Arvo Pärt was of course well represented – one wonders if an Estonian choir will ever be so courageously far-sighted as to exclude Pärt from a concert programme – opening the evening with his short but well-known setting of the Marian hymn Bogoroditse Dyevo, followed by his much longer take on the Triodion. It was useful to have the pieces in this order, as Bogoroditse Dyevo makes the point well that there’s more to Pärt than just luxuriating in solemnity (if that’s not an oxymoron), the choir positively dancing through the hymn’s rushing material, playful and full of happiness, and treated here to the most transparently clear articulations. The Triodion, more trademark Pärt, posed the question of whether the similarity of utterance exhibited in the three odes worked to reduce or even nullify its intended effect. Yet if one regards it in the same way as separate portions of a common liturgy – surely the only way to regard them – the question more-or-less evaporates. Describing it like that may sound off-putting, but neither the music in this piece nor the choir’s rendition of it at any point suggested the kind of piousness that can render concert performances of sacred music so distasteful. Everything was measured, enabling Pärt’s subtle word-painting – particularly the second ode’s large-scale climax – to speak with real immediacy. Read more

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