A feature of many of this year’s HCMF concerts has been a blurring of the distinction between pitch and noise, but the midday recital given by Swiss saxophone group Konus Quartett tilted the focus firmly back on pitch. Both works, Jürg Frey‘s Mémoire, horizon and Chiyoko Szlavnics‘ During a Lifetime (each being heard in the UK for the first time) sought to examine pitch as a constant, prevalent thing in its own right as well as an element with wider harmonic implications. Read more
Being a Cotswolds lad, born and raised, i’d have to liken HCMF’s ‘Shorts’ day of free miniature concerts yesterday to a long walk over the hills, with spectacular vistas yet passing through numerous fields randomly distributed with large cowpats. In each field, you pick a direction and stick to it, with obvious consequences. In short, we all ended the day a little muckier than we’d started. Read more
Today’s afternoon concerts occupied opposite ends of a number of musical continua, the most obvious being dynamic. At the quiet end, in St Paul’s Hall, were the Bozzini Quartet with music by HCMF resident composer Jürg Frey; at the loud end, fighting the prevailing chill in Bates Mill Blending Shed, were Ensemble Phoenix Basel performing works by Robert Piotrowicz and Alex Buess. Let’s start with the loud.
It was very strange. Buess and Piotrowicz were represented by two works each, and with both composers it was if they destroyed their reputation with the first piece, only to re-establish it again with the second. In the case of Alex Buess‘ 2003 work KHAT, for bass flute and percussion with live electronics, it was a messy, unkempt affair, the pair of performers seemingly occupied with completely different compositions simultaneously, while with the electronics, one can only hope (but at the same time wonder why) the intention was to sound clunky and awkward; as it was, it sounded like someone arbitrarily testing a load of presets. In all these respects it was immensely dull, but once you factored in the very high volume levels (causing numerous people to move further to the back), it became a major irritation. But then came VORTEX_V1.01, composed in 2009 for bass flute, piano, percussion and electronics, a work that was extremely tautly-managed to exhilarating effect. Almost all of the sounds in the piece are either entirely pitchless or sufficiently modulated by different articulations that their pitch content becomes obscured, meaning that in essence Buess is playing with noise-based materials. These are arranged, in highly dramatic fashion, into tight formulations of imitation, complement, riposte, antagonism and the like, both between the players on stage and between them all and the live electronic elements. Clarity emerges gradually from a more amorphous genesis, but structurally VORTEX_V1.01 ultimately proves itself to be very strong, loud and overpowering (never excessively, but still practically abrading the audience from all sides) with some genuinely dazzling climaxes, concluding in a wonderful stop-start finale, blasts of sound alternating with softer detailing.
It’s perhaps a little early, following just two concerts yesterday evening, to start describing the characteristics that typify this year’s Huddersfield Contemporary Music Festival. But based on these, and considering the featured composer is Jürg Frey, it would seem that ‘delicacy’ is going to be one of this year’s prevailing themes. In saying it dominated the piano recital given by local hero Richard Uttley, that’s as true of the performer as it was of the music being performed. i wouldn’t use this term of many pianists but, both from a purely aural perspective as well as watching him perform, Uttley comes across like a ballet dancer. His movements are graceful, lyrical, acrobatic; keys are sprung from, landed upon, tickled, urged, encouraged, coaxed—but rarely, it seems to me, merely struck.
Tags: Catherine Kontz
, Dai Fujikura
, Edwin Hillier
, Francisco Coll
, Mandela Meier
, Mauro Lanza
, Michael Cutting
, Naomi Pinnock
, Richard Uttley
, Thomas Larcher
, Tristan Murail
, United Instruments of Lucilin
With the Huddersfield Contemporary Music Festival poised to kick off tomorrow, i’m focussing this new releases roundup on Jürg Frey, composer-in-residence at HCMF 2015, and composers associated with the Wandelweiser—would ‘group’ be the right word? ‘collective’? ‘concept’? ‘conceit’? Just the other day, an esteemed colleague described Wandelweiser to me as a ‘cult’; whatever it is, it seems to have a polarising effect on listeners. My own opinion has, hitherto, been insufficiently thought-through even to qualify as an opinion; i enjoyed Antoine Beuger’s four-hour en una noche oscura, performed at HCMF 2013, very much indeed, but until recently it’s been a lone deep impact among many slight, glancing impressions. Read more
Last night’s concert given by Birmingham Contemporary Music Group, conducted on this occasion by Oliver Knussen, was a typically tightly-packed affair, featuring seven works (plus an encore) that, despite their respective brevity, added up to a concert that was surprisingly lengthy and filling. Calling it an embarrassment of riches wouldn’t be exactly right, although both of those epithets made their presence felt. Of the former, there was the usual helping of forgettable Faberian froth, represented this time by Julian Anderson‘s The Comedy of Change and, to a lesser extent, Polly Roe by BCMG’s new Composer-in-Residence Patrick Brennan. Anderson’s overlong, seven-movement work—the title of which bore no relation to what one actually heard—was another iteration of his endless recycling of the same small pool of ideas, spiky staccatos firing away upon distorted unison melodic blather, not so much animated as made to twitch like electrified frog’s legs with large doses of velocity and rhythmic rigour. Read more
Not everything performed at HCMF is brand new, yet there are occasions when it feels as though one’s hearing a familiar piece for the first time. This happened last year with Morton Feldman‘s Piano Four Hands, a work that dates back over half a century, composed in 1958. One of a series of works experimenting with notation and interaction that Feldman composed during this period, it’s a piece that had hitherto left me entirely cold, a response that, having heard it in a variety of interpretations, i’d assumed must be something to do with Piano Four Hands itself. That belief was overturned on 25 November 2014, when Philip Thomas and John Tilbury began their afternoon concert with the piece, and finally everything coalesced. Read more