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, HCMF, 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

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

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.
Wojtek Blecharz‘s Ahimsa, the UK première of which had actually begun the concert, explored a fascinating patchwork vocal texture made up of sonic swatches imbued with small, highly characterised motifs, acting like drops of ink being absorbed into a piece of tissue paper. Read more

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HCMF 2017: The Otheroom, Ensemble Modern + Arditti Quartet, zeitkratzer perform Kraftwerk

Posted on by 5:4 in Concerts, HCMF, 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

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

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, HCMF | 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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