Mix Tape #40 : Miniatures

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Even more than is usually the case, the new 5:4 Mix Tape is a pure stream of consciousness. i’ve returned to a theme i explored in one of the earliest mix tapes, miniatures, once again setting myself a limit of music lasting under two minutes. With a shortlist of 100+ tracks (each one a personal favourite), i then simply followed my nose, treating them as puzzle pieces for a newly-created jigsaw, or perhaps more accurately as tessera for an eccentric aural mosaic. As usual, they embrace a mixture of new and old, and stylistically it’s all over the place, though its narrative was entirely suggested by the material, sometimes dovetailing or morphing, elsewhere successive tracks acting as rude non sequiturs. Along the way you’ll encounter abrasion (Alejandro Jodorowsky, Naked CityBenjamin Wallfisch (whose IT soundtrack is gleefully insane), aTelecine), playfulness (Syd Dale, Andrew Liles, Camille), moody atmospheres (Laura Sheeran, SupersilentVangelisOlga Neuwirth, Beacon, Gareth Davis & Machinefabriek, Alva Noto, Ben Lukas Boysen), edgy lyricism (Zola Jesus, Elsiane, Gazelle Twin, Clark, Jenny Hval), convoluted beats (Don DavisZavoloka & AGFThe Flashbulb, Derek K Jeppsen, Shad[]wb[]x, Ryoji Ikeda), drama of various hues (James Newton HowardPeter AblingerVeli-Matti PuumalaClaude Vivier), dreamy ambient (Bad Loop, The Real Tuesday WeldCliff MartinezGet Well SoonMonty AdkinsAphex Twin), rich tonal yum (Marcel Dupré, Carpenters, Cyrillus KreekTõnu Kõrvits) and various other electronic, experimental or otherwise unconventional amuse-bouches (Francis DhomontFrank ZappaNicolas ObouhowAndrew Lloyd Webber (yes, really), Sophie, Steve LevineJohn ZornKenneth Kirschner). And all of this in just one hour.

48 tiny tracks ranging in duration from 1’59” to a mere 26 seconds. Here’s the tracklisting in full, together with links to obtain the music. As ever, the mix can be downloaded or streamed via MixCloud. Read more

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New releases: Paul Dolden – Histoire d’histoire, Annette Vande Gorne – Yawar Fiesta

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Nobody – but nobody – makes music that sounds like Paul Dolden. His work typically exhibits unchecked exuberance, both his instrumental and electronic (and electroacoustic) music not merely firing on all cylinders, but with their inner workings ludicrously pimped and their processors absurdly overclocked, sounds and timbres piled on top of each other in extremis. His latest disc, Histoire d’histoire, on the Canadian acousmatic label empreintes DIGITALes, is therefore interesting as in many respects it shows considerable restraint. Much of the disc is devoted to Dolden’s five-movement work Music of Another Present Era, completed last year, in which he sets out to create a kind of deliberately inauthentic ethnographic artefact. Dolden uses our lack of knowledge about the music of ancient cultures to construct a free-wheeling flight of fancy, employing a “metaphoric use of myths” as inspiration rather than seeking to fabricate a pointless (and impossible) ersatz ‘reconstruction’. This imagined historical survey perhaps accounts in part for the demonstrable delicacy shown in this piece. Yet even from the opening moments, it’s unequivocally Dolden: microtonally unique instruments – implying the lack of a coherent, codified tuning scheme – wheeze into life as though summoning up their energy only with considerable effort, presenting a unified but ‘doddery’ demeanour. This is how first movement ‘Marsyas’ Melodies’ begins (evoking the Phrygian Satyr who was supposedly the first to create music for the flute), eventually restarting in order to find some clarity, whereupon Dolden’s characteristic dense polyphony swells up, leading to Zappa-esque florid percussion and strangely agile stodge. Flutes are featured even more in third movement ‘Entr’acte’, in which a solid chorus of them is created, so compacted that they constantly clash and jostle and scrape against each other to the point where they can hardly move. Read more

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Proms 2017: the premières – how you voted

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i want to say thank you to all of you who took time to vote in this year’s 5:4 Proms polls. More of you than ever expressed your views about this year’s premières: a total of 914 votes were cast, an increase of 16% from last year.

However, the distribution of those votes was highly unbalanced. Obviously, some pieces are going to be more appealing than others, but the extent of the disparity was much greater than in previous years. For example, the works by Tom Coult and Harrison Birtwistle both elicited 100+ votes, while others barely managed twenty. That’s in part due to the difference in time – the poll for each successive première is available for less long than its predecessors, and this is the main reason why i keep the polls open for a fortnight after the Proms have finished – yet this clearly isn’t the whole story. Roderick Williams’ Là ci darem la mano was the third première, well over two months ago, but still only managed 31 votes. Whether that’s to do with the fact that Williams is less well-known/-regarded as a composer, or that it took place in an afternoon chamber concert rather than an evening event, or that the work was vocal and/or in a concert otherwise filled with Monteverdi, who knows? In some other cases the relative lack of votes seemed surprising. Mark-Anthony Turnage usually stirs up a fair amount of interest, yet his large-scale song cycle Hibiki mustered a mere 32 votes. Has his star finally waned? Whatever the reasons, the range of the disparity is considerable and worth noting.

For the last couple of years, the number-crunching formulae i’ve used on the polls data has taken the number of votes into account so as not to skew the results, and this year i’ve also included the work’s duration as a factor: if two pieces are equally liked or disliked, the longer of the pieces will prevail (this is already an important factor in the crunching that goes into producing my end of the year best album lists). And because if a job’s worth doing, etc. etc., i’ve used the actual duration of the piece –  i.e. from the start of the music to the first clap at the end – rather than the advertised duration. Apropos: for the most part the actual and advertised durations were pretty similar – i.e. ± a minute or so – the one exception being Gerald Barry’s Canada, which was a full four minutes fewer than threatened promised. Anyway, that’s enough preambular wafflestats, here are the results of how you all voted. Read more

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Proms 2017: Lotta Wennäkoski – Flounce (World Première)

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After eight weeks of (for the most part) serious music-making, the Last Night of the Proms, quite reasonably, is primarily disposed to the aim of letting of steam and just having fun. For the contemporary composer chosen to get the evening going each year, the enormous sense of occasion – even more so than at the first night – must be so impossible to ignore (and why would you?) that one can’t help wondering to what extent they feel their creativity is being given an opportunity to shine or simply go through the expected motions. Harrison Birtwistle’s Panic, from the 1995 Proms, remains a benchmark for ruthless originality in this concert, though it’s worth remembering that that particular piece was not a concert-opener, but occupied a prime position later in the concert. How nice it would be if the tradition of commissioning a world première for the last night could return to being a more major work in the concert rather than the amuse-bouche that the Proms seems to believe is sufficient. Perhaps then composers could do their own thing both more expansively and in the way they’d really like, although the experience and aftermath of Panic may well have scared off the Proms organisers for good on that score. (Apropos: i wonder what would shock people today?)

Nonetheless, one or two of the commissions in recent years – i’m thinking particularly of Tom Harrold’s Raze (2016) and Mark Simpson’s Sparks (2012) – have demonstrated the capacity and the courage to try and squeeze some imagination into their tiny sliver of the evening. And the same was true of last night’s curtain-raiser, Flounce, by Finnish composer Lotta Wennäkoski. Read more

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Proms 2017: pre-première questions with Lotta Wennäkoski

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This evening, Finnish composer Lotta Wennäkoski‘s new work Flounce will literally become the beginning of the end, getting started the Last Night of the Proms. For the final time this year then, here are my pre-première questions, together with Wennäkoski’s answers and her programme note for the piece. Many thanks to Lotta for her responses. Read more

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Proms 2017: Missy Mazzoli – Sinfonia (for Orbiting Spheres) (European Première), Catherine Lamb – Prisma Interius V & Emilie Levienaise-Farrouch – The Minutes (World Premières)

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The last three Proms premières, though very different in some respects, shared some important things in common. All of them, Sinfonia (for Orbiting Spheres) by Missy Mazzoli, Prisma Interius V by Catherine Lamb and The Minutes by Emilie Levienaise-Farrouch, eschew silence and focus primarily on harmonic movement – or, more specifically, on the (juxta)positioning of pitches to harmonic ends. In tandem with this, they also all broadly adopt an approach that treats the performance space as a vessel into which sound is poured.

For Missy Mazzoli, the space was, literally, space, her music cast “in the shape of a solar system” (her words). The piece began life in 2013, in a version for chamber orchestra that she later expanded to full orchestra, and which was first performed in February last year. Drawing on the double-meaning of ‘sinfonia’, which in Italian used to refer to the hurdy-gurdy, this can be felt in the way pitches are drawn-out and sustained and slide, and in the small ornamental embellishments (ever so slightly redolent of James MacMillan) that are quickly established to be one of the work’s most characteristic musical elements. In its own particular way, the music clearly wants to sing – its melodic urge is paramount – but the way it does this is always in relation to and as a somewhat secondary consideration to its harmonic foundation, which is mobile yet attracted to certain fundamentals, drifting between poles of tonal certitude. Read more

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Proms 2017: pre-première questions with Catherine Lamb

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Concert halls be damned! Tonight the Proms makes another of its peripatetic excursions beyond the confines of the Royal Albert Hall, paying a first visit to The Tanks at Tate Modern. Among the music being performed will be the world première of Prisma Interius V by experimental American composer Catherine Lamb. To get you whetted and prepped, here are her responses to my pre-première questions, along with a programme note for her piece. Many thanks to Catherine for her answers.
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