Interesting things are afoot for those with a penchant for the indeterminate. Composer Kenneth Kirschner has teamed up with digital visual artist Joshue Ott to create a trio of audiovisual apps, under the umbrella title Variant, that enable one to explore in different ways indeterminate music and visuals in a stimulating and strikingly beautiful way. In terms of the nature of its user interaction, Variant bears a resemblance to Brian Eno & Peter Chivers’ suite of generative music apps, but that’s where the similarities end: Kirschner’s music doesn’t seek to establish a kind of saccharine stupor, and Ott’s visuals don’t resemble something manufactured by Fisher-Price.
Kirschner has for a long time been interested in indeterminacy, both in terms of the act of composition itself (often involving chance procedures) as well as the way events take place over time. It permeates much of his output, but the seed for Variant can perhaps be located most specifically in the collection of pieces Kirschner composed from 2004-5, which, unlike the rest of his output, comprised not a standalone recording but instead a collection of sound fragments ‘performed’ via a web browser, and which would play continuously, different on each occasion, until stopped by the listener. (A detailed examination of these pieces can be found in my essay ‘Determined/Indeterminate’ in the free ebook Imperfect Forms, published by Tokafi.) These indeterminate pieces used a very simple set of rules to determine basic things like superimposing layers of sound on top of each other, but the process was otherwise essentially random.
Taking inspiration from the lunar events at the start of this week, the new 5:4 mix tape is devoted to music related to the moon. i’ve crammed it with a veritable shed-load of personal favourites, small and great, old and new. The mix encompasses a broad spectrum, from the kind of soft delicacy heard in pieces by Toshio Hosokawa, Tor Lundvall, Pram, Alva Noto & Ryuichi Sakamoto, Implex Grace, Sunken Foal, Andrew Liles, Aun and The Noisettes to more abrasive expression in works by First Human Ferro, Philippe Petit (& Friends), Paul Dolden, John Williams and Chelsea Wolfe. Wolfe’s is one of a number of moon-related songs featured in the mix, alongside the very lovely Cemeteries (with one of my favourite tracks of 2015), Betty Ween, Radiohead and—heard in a miniature epic of gorgeous proportions—Julia Holter. The timebound yet timeless Johnny Howard Orchestra adds a bit of froth, immediately followed by its more sour hauntological answer courtesy of The Caretaker; Ochre and some vintage Multiplex bring a bit of play to the proceedings, while Eric Serra adds a brief note of cinematic grandeur and Natasha Barrett dives into a strange but exquisitely light soundscape. A sumptuous bit of nocturnalism from Richard Strauss acts as a coda, leading into the night proper via Chris Watson. Serving as structural markers throughout are the four parts of Harry Partch‘s hilariously mental Ring Around the Moon. Lycanthropes might want to give this particular mix a miss.
A little under two hours of sound from the lunatic fringe; here’s the tracklisting in full. If you enjoy the mix, there are links below to buy the music. Read more
Tags: Alva Noto & Ryuichi Sakamoto
, Andrew Liles
, Betty Ween
, Chelsea Wolfe
, Chris Watson
, Eric Serra
, First Human Ferro
, Harry Partch
, Implex Grace
, John Williams
, Julia Holter
, Natasha Barrett
, Paul Dolden
, Philippe Petit & Friends
, Richard Strauss
, Sunken Foal
, The Caretaker
, The Johnny Howard Orchestra
, The Noisettes
, Tor Lundvall
, Toshio Hosokawa
Many thanks for all of your votes on this year’s Proms premières. Having closed the polls yesterday, i’ve crunched the numbers a few different ways and here’s a summary of what you, my esteemed readers, had to say about this year’s offerings.
i’ve been kind of drowning in fascinating new releases lately, so i’m going to try and give something of a whistle-stop tour through some of the best. Beginning with a couple from the always wonderful Empreintes DIGITALes label. Canadian composer Gilles Gobeil is represented by Les lointains, featuring six substantial pieces created between 2008 and 2013. Gobeil’s particular take on acousmatics is extremely heavily inflected with sharp attacks redolent of industrial machinery. Big impacts litter his music, acting both as material element and structural marker; as such they become antagonistic pivot points about which each piece spasmodically turns and contorts. One ends up feeling rather small listening to these pieces, but not just due to their blunt force trauma; Gobeil also punctuates his music with periods of repose that are more void-like and ambient (albeit edgy), broad but delicate vistas that seemingly stretch into infinity, gradually becoming filled with raw material for the next episode of onslaught. The scale, the force, the immensity, the drama—it all adds up to a sequence of experiences that go beyond simply being immersive; one feels enveloped by these six pieces, surrounded on all sides by danger and beauty of utmost intensity.
New music at the Proms, and the season itself, came to an end at yesterday’s Last Night, with the world première of Jamaican-born composer Eleanor Alberga’s brief concert-opener Arise, Athena!. According to the composer, the piece (ahem) arose from a desire to have a female theme, Alberga drawing on the Greek goddess Athena for inspiration, citing her connection (among many others) to “wisdom and the Arts”.
Homage, allusion and evocation have all been heavily foregrounded in many of this year’s Proms premières, and the most recent pair are in no way an exception. Swedish composer B. Tommy Andersson has turned to the Greek god Pan for inspiration in his eponymous latest work for organ and orchestra (not, according to Andersson, a concerto) while British Jazz musician Guy Barker has turned to an early 15th century tract classifying the seven deadly sins as the basis for his new trumpet concerto The Lanterne of Light. Read more
One of the smaller Proms premières, Christian Mason‘s Open to Infinity: A Grain of Sand was commissioned as a part of this year’s 90th birthday celebrations for Pierre Boulez. Fittingly, its world première was given by Boulez’s very own Ensemble Intercontemporain at the Lucerne Festival; its first UK performance at the Proms, a few days later, was given by the London Sinfonietta, conducted by Thierry Fischer. Mason describes the work as having a twofold connection to Boulez, first in terms of the work’s engagement with twin perspectives, focussing on both intricate detail and broader structural durations (the title derives from this, drawing on the opening line of Blake’s Auguries of Innocence: “To see a World in a Grain of Sand”), as well as the use of crotales, involving all 15 players, a reference to Mason’s recollections of Boulez’s orchestral work Le Visage nuptial.