György Kurtág – Clov’s last monologue (a fragment) (World Première)

Posted on by 5:4 in Lent Series, Premières, Thematic series | 1 Comment

For about as long as many people can remember, Hungarian composer György Kurtág has been working on his first opera, based on Samuel Beckett’s Endgame. It’s been announced, postponed, re-announced and re-postponed to the point where one begins to wonder if it will ever become a reality, but if all goes well, the opera will finally be unveiled in Salzburg next year.

In the meantime, Kurtág has made available a typically minuscule sliver of music either directly taken or derived from the opera, in the form of a three-minute work for string quartet, titled Clov’s last monologue (a fragment). It’s cast in a simple ternary form structure (A1-B-A2), quickly establishing – after a fortissimo opening blast – an achingly fragile but lyrical primary idea. A wafer-thin melody that falls more than it rises, Kurtág barely nourishes it with bleached harmonies and almost casually disinterested pizzicati, in the process providing just the barest hint of development. Read more

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Javier Álvarez – Overture

Posted on by 5:4 in Electronic, Lent Series, Thematic series | 1 Comment

Today marks the start of Lent, and for this year’s Lent Series i’m turning to the world of the small: miniatures. i’ve written in the past with no little enthusiasm about ‘epic’ compositions, but there’s something equally remarkable about a piece of music that’s able to convey something cogent in a seriously limited amount of time. i haven’t set myself a strict time-limit for the pieces featured in the series, though i suspect nothing longer than around three or four minutes. Read more

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Electric Spring 2017

Posted on by 5:4 in Concerts, Electronic | 8 Comments

i was fortunate to catch four-fifths of last week’s Electric Spring festival, Huddersfield University’s annual exploration and celebration of things electronically musical. As usual, attention was focused on a daily evening concert, featuring a substantial programme preceded by one or more relatively brief opening acts. The festival’s emphasis on electronic music felt conspicuously different this year; the connection seemed pretty tenuous in Thursday’s concert showcasing three films (admittedly all including electronically-created or -processed music to some extent, and the event was a tie-in for the university’s Sound and Music in Documentary Film symposium, which was taking place at the same time), as well as drummer Dave Smith’s Saturday gig, which employed little in the way of electronics beyond a few loops, some reverb and a modicum of pitch-shifting. i mention this more as an observation than a complaint: the concerts were no less enjoyable for their relatively minor use of electronics, but it’s fair to say that these two events, in retrospect, seemed more like vanity projects for the particular members of staff who organised them than deeply meaningful contributions to Electric Spring’s general ethos. Or maybe Electric Spring is going somewhere else in future; i guess we’ll see. Read more

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January 2017 listenings

Posted on by 5:4 in CD/Digital releases, Comment, Listenings | 2 Comments

i remarked in passing recently about the disparity between music i’ve listened to and music i’ve (not) written about, so as an adjunct to my reviews of new releases, i’m going to offer a brief monthly insight into some of the more interesting and/or noteworthy things to have entered my ears. Belatedly, here’s January’s:

Ari Mason – Creatures

i’m totally new to Ari Mason’s music, but stumbled across her 2015 single ‘Dim the Lights’ at the start of the year, which in turn led to me exploring Creatures, her first album. ‘Dim the Lights’ is included and is easily one of the album’s highlights, a really catchy song that i return to unhealthily often, with a half-speed chorus that’s a lovely touch, undermining the song’s sense of pace (the song is available as a free download on a three-track EP). Mason’s voice has a deliciously deep register and a smoky timbre, which in this light synthpop context makes for a beautifully effective combination, shot through with trace elements of melancholy. i wish i’d encountered Creatures sooner; it would definitely have appeared on my best of 2016 list. [Bandcamp]

Rose Elinor Dougall – Stellular

It’s slightly disgraceful that i’ve never yet written about Dougall’s output on 5:4, as i’ve been a fan ever since she did the right thing and went solo many, many years ago. Suffice it to say i have everything she’s released to date, which perhaps says something. It’s been a long wait for Stellular (her first album, Without Why, came out in 2010) but well worth it. Standout songs are ‘Strange Warnings’ and ‘Stellular’, but the whole album is a real treat, blending tip-of-the-tongue hints of something retro with an irresistably fresh pop outlook. If this whets your appetite, i highly recommend her 2013 EP Future Vanishes (which features a nice earlier version of ‘Strange Warnings’), the title track of which is one of the best pop songs i’ve heard in absolutely years. [Amazon]

Köhnen Pandí Duo – Darkness Comes In Two’s

Simply amazing; review here.

The Thing With Five Eyes – KOSMOS

Linked to the above release due to the leadership of Jason Köhnen, this is another iteration of what was once The Kilimajaro Darkjazz Ensemble and The Mount Fuji Doomjazz Corporation. Also titled in Persian (كون), KOSMOS includes all four tracks from the group’s separately available EP نور, along with loads of unreleased pieces, forming a stunning one-hour tapestry of post-apocalyptic jazz elements flecked and frazzled with beautiful, brute force electronics. [Bandcamp]

Cristobal Tapia De Veer – The Girl With All The Gifts (Original Motion Picture Soundtrack)

One of last year’s best movies – and one of the most intelligent films to explore, admittedly obliquely (and with a twist), the otherwise tired zombie apocalypse trope – gets an equally admirable soundtrack courtesy of Chilean composer Cristobal Tapia De Veer. Gentle yet eerie, tender but menacing, it has refreshingly little to do with conventional movie scores, opting instead to surround and nourish the film’s narrative with a score that evokes, alludes and hints, often from a distance, rather than trying to spoon-feed or manipulate at point-blank range. [Bandcamp]

One other brief thought: i was listening quite a bit to Mica Levi‘s score for Jackie last month, and it’s baffling that it should have received the attention it has, including an Academy Award nomination, considering how inferior it is to the music she composed for Jonathan Glazer’s astonishing film Under the Skin a few years ago. She’s clearly an interesting composer – i’ve written about her on several occasions – but much of the attention her music for Jackie has received – particularly from film critic Mark Kermode, who has bizarrely convinced himself it’s of major importance – is sheer hyperbole. To be clear: the score to Jackie is careful, nuanced and at times wonderfully and appropriately weird (though never as much as in the film’s remarkable, highly-concentrated trailer), but much of it, heard in isolation, is plain atmospheric blah, instantly forgettable, whereas her music for Under the Skin, entirely ignored by the Academy, remains one of the most innovative, chillingly effective approaches to film music of the last ten or twenty years, every moment of it impossible to forget. That score absolutely should have been awarded an Oscar, but not this one. Credit where credit’s due.

 

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Studies vol. 3/Electric Spring

Posted on by 5:4 in Announcements, CD/Digital releases, i | 3 Comments

A couple of electronic music announcements. First, if you’ll forgive the self-pluggery, i’m pleased to announce that the third volume of my ongoing series of Studies is now available. (Many thanks to all of you who have purchased volumes 1 and 2.) The Studies explore my interest in structuring sound materials from an initially visual perspective, an approach i describe as ‘Op music’, a sonic equivalent of Op art. The three studies on Vol. 3 are highly diverse. No. 12 is an exploration of near parallel pitch movement, resulting in shepard tone-like sequences and a shifting, paradoxical sense of stasis and movement. No. 13 examines the juxtaposition of freely-evolving sounds within an imposed metric system, positioning quasi-random clouds of pitch within an grid-like arrangement. Vol. 3 ends with my longest study to date, No. 10. Its 14-minute duration begins with a vast number of tightly packed pitch bands, moving as one; over time, these gradually drift out of alignment, resulting in complex waves and patterns of harmonic distribution and introducing elements of implied melody. The work is complicated further by a central episode, the noise of which permeates this process and threatens to disrupt it from within.

Studies vol. 3 is a digital-only EP, available via Bandcamp. The accompanying artwork has again been created by the marvellous Polish generative artist Tomasz Sulej (folds2d.tumblr.com). All three pieces can be streamed below.

Second, more importantly, Huddersfield University’s annual Electric Spring festival kicks off this Wednesday, running until Sunday. Once again it features a typically diverse collection of composers, many of whom are happily new to me. Alex McLean and Dave Smith will be performing improvisations, Mark Lyken & Emma Dove are presenting their film Mirror Lands, Argentine composer Beatriz Ferreyra (well-known particularly for her work composed as part of Pierre Schaeffer’s Groupe de Recherches Musicales) is represented in three electronic works including her brand new 16-channel work Los senderos de luz y sombras, premièred last month in Paris, and Richard Scott will bring the festival to an end with a suite of analogue synth pieces. These concerts are supplemented with opening acts from Tadej DroljcDemelza Kooij & Lars Koens, Geoff Cox & Keith MarleyFrédéric DufeuSolomiya Moroz & Marko Ivic and Elías Merino. Each concert

All are preceded by pre-concert talks, and there’s a keynote talk from filmmaker Andrew Kötting. There are two additional late night concerts on Friday and Saturday nights, and throughout the festival there’s an interactive installation by Stewart Worthy called Speaker Grid situated in the Creative Arts Building’s large atrium. Everything is free – everything – so it’s a fabulous opportunity for some really new sonic experiences. i’ll be there for the duration, and will be reviewing as much as i can. Full details are available on the Electric Spring website, where you can also download the festival programme.

 

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Beguiling/bemusing, pretentious/profound: the continuing challenge of Wandelweiser

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There’s a lot of music that i don’t write about. That’s kind of an obvious, even stupid thing to say: what i mean is that there’s a lot of music that i listen to that i don’t then write about. Invariably it’s due to some fundamentally problematic aspect that makes recommending it to others less of a necessity than a slightly cruel prank. Before i continue (and momentarily to digress), i must stress that i generally avoid thinking of composers in terms of trends, ‘schools’, ‘isms’ and other group terms that bundle them together due to some spurious connection, but considering the particular composers i’m writing about today have deliberately grouped themselves together, it seems appropriate to regard them in that way. To continue then: Wandelweiser. There’s a lot of Wandelweiser that i’ve listened to that i haven’t written about. A lot. And this fact has strangely been gnawing away at me recently as i’ve been pondering the latest batch of CD releases to have come from the Wandelweiser stable. To be fair to myself, i haven’t avoided them entirely: before HCMF 2015—at which Jürg Frey was composer-in-residence—i examined some of the then recent output from both him and a couple of other Wandelweiser composers, and there’s been a sprinkling of subsequent encounters, all i now realise also in conjunction with events going on at Huddersfield. This belies the fact that i have actually listened to an immense amount of their output, and it struck me recently that, instead of avoiding writing about it due to the conflicted reactions it so often engenders, perhaps that’s a worthwhile, even an important subject worthy of discussion in and of itself. Read more

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Brett Dean – Fire Music (UK Première)

Posted on by 5:4 in Premières | Leave a comment

Today is Australia Day, so i’m marking the occasion with an orchestral work by one of the country’s most well-known composers, Brett Dean. Fire Music was composed in 2011 as a response to the disastrous ‘Black Saturday’ bushfires that spread across Victoria in February 2009. At least, that was the starting point, involving discussions with the Commonwealth Scientific and Industrial Research Organisation, though the piece swiftly took on its own internal logic and narrative not so much irrespective of but in parallel with its emotive point of inspiration. In this respect, it’s interesting to note that, in addition to being a regular orchestral commission (by the Royal Stockholm Philharmonic Orchestra), Fire Music was also commissioned by Australian Ballet for a choreography by Graeme Murphy titled Narrative of Nothing. Nonetheless, Dean has stressed the personal connection to the 2009 tragedy that certain aspects of the work hold for him, stating that some of the work’s material includes “specific musical evocations of the event; for example, the extended electric guitar solo about halfway through the piece evolved as a musical interpretation of the momentous, dizzying heat that greeted Victorians on the morning of February 7th, 2009”. Dean has augmented the orchestra with three satellite groups that surround the audience: two trios (flute, trumpet and percussion) on each side and a string quartet behind.

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