Despite being a complete movie addict, as well as having nurtured a fascination with soundtracks since i was a boy, movie scores rarely get discussed on 5:4. There have been notable exceptions, and some invariably find their way onto my annual best album lists, but i often find myself pondering whether, despite my love for them, there’s usually something qualitatively inferior about them. To clarify, i don’t believe that film soundtracks, by necessity or nature, are inherently inferior; there’s certainly no reason why they should be, despite the fact that they are, first and foremost, serving a very clear functional role, working in conjunction with visual elements, mise en scène, sound design, narrative and the like, elements usually irrelevant within the concert hall. In this respect, it’s perhaps unreasonable to expect a film score to prove engaging when heard in its own right, away from these elements. But the best of them don’t merely survive such decontextualisation, they thrive, providing an analogue of sorts of the movie, embodying a more intangible yet no less cogent kind of transposed narrative. In other words, they no longer necessarily follow the chronology of the film’s storyline (many soundtracks, indeed, are not arranged in ‘story order’ but are configured for a satisfying aural experience), offering instead a sequence of portraits, sonic windows into its characters and their situations. Calling them ‘mood pieces’ would be to sell them short, yet there’s more than a whiff of truth to that. Read more
It was announced yesterday that Georg Friedrich Haas will be composer-in-residence at this year’s HCMF, and that among the works receiving their first UK performances will be the Octet for eight trombones. Composed last year, it’s a remarkable piece, commissioned by Hannover Trombone Unit, a group of graduates from Hannover University of Music, Drama and Media, who are clearly up for more than the usual kind of challenge. When composers assemble unusual line-ups of instruments like this, they invariably have a very specific idea in mind that they’re looking to exploit. Uppermost in Haas’ mind, it seems, were the microtonal possibilities not so much with respect to individual instruments but in relation to and conjunction with each other. His use of them, including quarter-, sixth- and eighth-tones, is hugely striking but also borderline sadistic.
It’s been announced this morning that the Composer in Residence at this year’s Huddersfield Contemporary Music Festival will be Georg Friedrich Haas. His work has been an occasional feature at HCMF in the past, nowhere more spectacularly than in the 2013 UK première of in vain, a piece concerning itself with endless states of transition, with an added air of theatricality through having all of the lights in the performance space extinguished at various points.
HCMF 2016 will include three UK premières: Klangforum Wien will present The Hyena for ensemble and narrator (featuring the composer’s wife, Mollena Williams-Haas), the Ardittis – who else? – will be performing the Ninth String Quartet, while the Hannover Trombone Unit will take on Haas’ Octet for Eight Trombones, composed last year. All three of these performances will be taking place in the opening weekend, ensuring the festival begins with a hefty wallop.
Tickets for these events will go on sale later this month. With this year’s Proms promising little more than lumbering predictability and blandness, it’s encouraging to have a much more exciting prospect on the horizon. More info about HCMF in due course.
Portrait concerts are rarely so eye-opening or indeed eye-popping as BCMG’s for the composer Benedict Mason given at the CBSO Centre on Sunday evening. The point of such concerts is obvious, but it’s hard in hindsight to determine whether or to what extent this one really demonstrated a coherent idea of its subject. In some respects, they hadn’t made this an easy objective, featuring just two works by Mason bookending music by Charles Ives.
The first, Nodding Trilliums & Curve-Lined Angles, a work commissioned and premièred by BCMG in 1990, and directed on this occasion by Ilan Volkov, has timbre as an overriding concern. The six movements are both characterised by and named after the respective sources that dominate them: Xylophones, Rattles, Drums, Toys, Claves, Vibraphone. They act a bit like windows opening out onto vividly depicted, self-contained worlds, and despite their generally conservative character, with echoes of Stravinsky here and there, these worlds are convincing and enticing. By turns one encounters exhilaratingly motoric jollification; ticklish music pieced together from an array of nervous tics; terminally unstable music that, due either to ineptitude or inebriation, keeps falling over; an apparent sunrise over an impossible zoo, the gentle, mellifluous context of the former filled with strange ululations, calls and whistles of the latter; an exercise in engineered misalignment, triggered and exacerbated by the four percussionists walking around the space like politicians clamouring for support, advocating wildly different policies on tempo; and finally a place of the purest magic, where everything has turned to liquid, dripping, flowing, splashing and glinting as its music sloshed around the space, coloured by the work’s most complex harmonic palette. Read more
An anniversary i wasn’t able to observe due to being engrossed in my Lent series was that of the death of Tōru Takemitsu, who died a little over twenty years ago, on 20 February 1996. i can still remember the day vividly; at the time i was an undergraduate at the Birmingham Conservatoire, and as i was walking to the library someone came rushing over to tell me he had died. It’s fair to say that, among the composers (and also some of the percussionists), the news of Takemitsu’s passing was a profound shock, and the rest of the day felt black and mournful. Just like one of his great sources of inspiration, Olivier Messiaen, no-one sounds like Takemitsu – only an idiot would try to – and few have been able to compose music that so completely and simultaneously embraces austerity and playfulness within a cross-cultural intermingling utterly filled with an innate sense of beauty and wonder. For myself, barely a week goes by when i don’t find myself in the company of his music, and i never, ever experience it as anything less than genuinely miraculous. Read more
i’ve recently returned from a trip to Tallinn to experience some of the annual Estonian Music Days (my reviews can be read over on Bachtrack). In a bit of spare time one afternoon, i finally got around to examining the forthcoming Proms season, and i don’t think it’s entirely due to the fact i was in the midst of a genuinely bold, experimental festival that, from the perspective of new music, Proms 2016 seems so poor bordering on lamentable. In terms of quantity, contemporary music – always a tertiary concern at the Proms after 1) established repertoire and 2) the increasingly desperate need to appear ‘trendy’ – isn’t represented too badly, with 52 works scattered throughout the season (only six of which are by women composers), including 13 world and 10 UK premières. But the choices, particularly in the case of the world premières, are appallingly predictable and narrow-minded, and the less said about the decision to perform Steve Reich in Peckham’s Bold Tendencies car park the better, as it may be an all-time low for the Proms, clearly trying to imitate LCMF. It’s hard to believe the decision-makers have a meaningful grip on what’s actually going on in contemporary music; certainly, if this is indicative of David Pickard’s vision for the Proms, that vision is suffering from an extreme case of myopia. Read more
The other recent release dedicated to Michael Finnissy‘s music is the product of a collaboration between the composer and clarinettist Michael Norsworthy. WAM, released on US label New Focus Recordings, explores five works composed during the last 25 years, three of them written specifically for Norsworthy, and all but one of which are recorded here for the first time. The main theme, for want of a better word, running through the collection is an examination of what constitutes a meaningful musical ‘connection’ between discrete performers and types of material. With respect to individuated, partially- or wholly-asynchronous parts, this has been a recurring feature throughout Finnissy’s career (manifesting in many of the works covered in my recent Lent Series), and this disc clarifies the concomitant fact that sense and/or coherence become very much more subjective and potentially problematic within such a context. Read more