Proms 2017: Harrison Birtwistle – Deep Time (UK Première)

Posted on by 5:4 in Premières, Proms | 2 Comments

It’s easy to believe – even take for granted – that we ‘get’ Harrison Birtwistle. He represents a lot of things to a lot of people, but the tendency is to conflate the man and his music, mix in stereotypes drawing on his age and northern heritage, and arrive at a surly amalgam that, crudely stated, neither gives nor takes any shit. Very many years ago, as a callow student volunteering at the Cheltenham Music Festival, i was charged with attending to Birtwistle during his time in the town, which ultimately consisted of a brief greeting followed by my being told in no uncertain terms that he did not need looking after, and off he went. So i certainly know all about the brusqueness of the man, but his music has always been another, entirely separate, matter. To me, its primary characteristics are an earthiness, an inclination to sing in the midst of turbulence, a strong sense of persistent determination, and an urgent, passionate humanity yearning to be unleashed no matter what. These qualities have permeated his works performed at the Proms in recent years – particularly The Moth Requiem, the Concerto for Violin and Orchestra and Angel Fighter – and they manifest again in his most recent orchestral work, Deep Time, given its first UK performance at the Proms last Sunday.

That being said, there were occasions during the work where i found myself wondering if what i was hearing really was by Birtwistle. But not early on, the music establishing a dark admixture of rumble and grumble within which nascent ideas take shape. It’s a beautifully measured and arresting introduction, the strings clambering up and out of this claustrophobic gloom with such oomph that it almost seems as though, two-and-a-half minutes in, we’re already reaching a climax. But this is a mere overture to the more complex behaviour that forms the firmament of Deep Time. Birtwistle’s programme note speaks of the piece sitting alongside The Triumph of Time and Earth Dances due to its twin temporal and geological concerns. This finds expression in a fascinating underlying order that evidently has a pulse at its core, though sufficiently subterranean that it’s often masked, inaudible or simply forgotten about. Yet it finds expression in another way too, in a remarkable sense of architectonic plasticity, as though the bedrock of the piece were warping and stretching, with concomitant effects occurring on the surface. On this surface, when pulse isn’t pushing through, a plethora of melodies break out (those from a soprano sax are especially striking), invariably short-lived, broken up by unpredictable surges and lunges or multi-layered textures from the full orchestra. Read more

Tags: , ,

Cheltenham Music Festival: 21st Century String Quartet, The Hallé

Posted on by 5:4 in Cheltenham Music Festival, Concerts, Premières | Leave a comment

Here’s a suggestion: if a composer can’t summarise their programme note in fewer than a couple of hundred words, that’s a problem. Is that terribly controversial? Judging by what we were given at the Cheltenham Music Festival last Saturday, it is. This is not a local problem, though, it’s something that manifests itself all too often, composers seeking to convey at length not merely the inspiration for their music but a blow-by-blow account of what happens in it. It’s interesting that they deem this necessary. Does it suggest a lack of faith either in the audience or, more worryingly, in the music? It would be strange for a writer to introduce their novel with a breakdown of the structure and key plot-points; likewise with a programme note full of aural spoilers, it’s impossible to be drawn in and surprised by the music, as we already know what’s coming. Increasingly, programme notes seem akin to the abstracts that preface academic papers, and that’s not necessarily the ideal model for the concert hall. There are two caveats to this: first, it’s not just contemporary music that’s treated to such ‘programme essays’, and second, of course, one’s not obliged to read them at all. Of the first caveat, this is partly to do with the understandable desire for a degree of historical contextualisation, but regarding the second, i’ll come back to this shortly. Read more

Tags: , , , , , ,

HCMF 2017: looking forward

Posted on by 5:4 in Announcements, Concerts, HCMF | 3 Comments

i’ve just returned from a few days in Poland, and before i get started on catch-up reviews of Cheltenham and the Proms, at a press conference in Warsaw a couple of days ago a slew of new announcements were made about this year’s 40th edition of the Huddersfield Contemporary Music Festival. Last month, it was announced that there’s to be the world première of a large-scale new piece by James Dillon performed by his compatriots Red Note Ensemble, as well as the first UK performance of Brian Ferneyhough‘s even more large-scale work for string quartet and ensemble Umbrations, by Ensemble Modern and the Arditti Quartet (my review of the world première is here). There are also going to be concerts focusing on Linda Catlin Smith, featured in the first part of Another Timbre’s recent Canadian Composer Series, and the late Pauline Oliveros; each composer’s music is explored in two concerts, Smith’s by pianist Eve Egoyan and Philip Thomas with the Bozzini Quartet, Oliveros’ by Riot Ensemble and the combined forces of ICE Ensemble, Distractfold and the wonder that is Fritz Hauser.

Newly-announced on Monday are events pertaining to the ongoing collaboration HCMF has had with Polish music since 2015, now entering its third and final year. This October marks the 60th anniversary of the Polish Radio Experimental Studio, the work of which is going to be celebrated in an audio-visual exhibition at Huddersfield Art Gallery running for the duration of the festival, in addition to a series of accompanying talks and performances. Music by one of the Studio’s key figures, Bohdan Mazurek, will be presented in a pair of late-night concerts in Bates Mill Photographic Studio, given by Jacek Sienkiewicz and Valerio Tricoli respectively. Also in the Photographic Studio will be a laptop and tape concert by German musician Thomas Lehn, performing music by Bogusław Schaeffer. Beyond this, there’s another extremely rare opportunity for UK audiences to hear Zbigniew Karkowski‘s music: his 40-minute work Encumbrance, for voices and electronics, will be performed by Gęba vocal ensemble, in addition to music by Kryzysztof Knittel and Antoni Beksiak. Dai Fujikura has written a new piece for the Polish Radio Choir, the second of a two-part work, which will be receiving its first performance in this complete version, alongside works by Polish composers Wojtek Blecharz (about whose Body-opera i shall soon be writing) and Agata Zubel, and Riot Ensemble will also be performing a new work by Nikolet Burzynska.

So, here’s how the festival looks so far (some times/locations still to be confirmed); more info coming soon.

Friday 17
  • James Dillon: new work (World Première) / Red Note Ensemble (St Paul’s Hall)
Saturday 18
  • Brian Ferneyhough: Umbrations (UK Première) / Ensemble Modern & Arditti Quartet (St Paul’s Hall)
  • Focus on Linda Catlin Smith / Eve Egoyan
  • 23:30 Jacek Sienkiewitcz (electronics) plays Bohdan Mazurek (World Première) (Bates Mill Photographic Studio)
Sunday 19
  • Focus on Linda Catlin Smith / Philip Thomas & Bozzini Quartet
  • 15:00 Dai Fujikura – two-part work (Part 1 – UK Première, Part 2 – World Première), works by Wojtek Blecharz & Agata Zubel / Polish Radio Choir (Huddersfield Town Hall)
Tuesday 21
  • 17:00 Zbigniew Karkowski – Encumbrance (UK Première), works by Kryzysztof Knittel and Antoni Beksiak / Gęba Vocal Ensemble (St Paul’s Hall)
Thursday 23
  • 21:30 Thomas Lehn (laptop & tape) plays Bogusław Schaeffer (Bates Mill Photographic Studio)
Friday 24
  • 17:00 programme includes Nikolet Burzynska – new work (World Première) / The Riot Ensemble (St Paul’s Hall)
  • 23:30 Valerio Tricoli (electronics) plays Bohdan Mazurek (World Premiere) (Bates Mill Photographic Studio)
Saturday 25
  • Focus on Pauline Oliveros / ICE Ensemble, Distractfold & Fritz Hauser
  • Focus on Pauline Oliveros / The Riot Ensemble

Proms 2017: pre-première questions with Roderick Williams

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

Today’s Proms première is by renowned baritone Roderick Williams, whom many may not have realised – as i didn’t, until relatively recently – also has a sideline in composition. In preparation for the first performance of his new work Là ci darem la mano at Cadogan Hall this afternoon – in a concert otherwise devoted to the music of Monteverdi – here are his answers to my pre-première questions. Many thanks to Roderick Williams for his responses and to Francesco Bastanzetti at Groves Artists for acting as go-between. Read more

Tags:

Proms 2017: Tom Coult – St John’s Dance (World Première)

Posted on by 5:4 in Premières, Proms | 1 Comment

And we’re off: the first performance of Tom Coult‘s new orchestral work St John’s Dance got the 2017 Proms season up and running last night, courtesy of the BBC Symphony Orchestra conducted by Edward Gardner. i’ve only really scratched the surface of Coult’s music, having heard two earlier works in the last couple of years, Codex (Homage to Serafini) and Spirit of the Staircase, premièred in 2014 and 2016 respectively. They’re both interesting pieces (i’ll aim to feature them on 5:4 when i get a chance), but the thing that stood out most in them was Coult’s very particular approach to pace and direction. i need to qualify that by saying my initial impression was that, in each case, these aspects seemed a bit off, but returning to them since, i’ve wondered whether in fact Coult actually succeeds in pulling it off through a mixture of audacity and simple unpredictability. Read more

Tags: , ,

Proms 2017: pre-première questions with Tom Coult

Posted on by 5:4 in Interviews, Premières, Proms | 2 Comments

Tonight, this year’s Proms season kicks off in earnest, and once again i’ll be reviewing all of the contemporary pieces receiving world or UK premières. As an extra feature this year, i’ve interrogated some of the featured composers with a short series of questions, the answers of which hopefully will provide a little extra insight into each composer and their music, both generally and specifically with regard to the piece being premièred at the Proms. First up is British composer Tom Coult, whose new work St John’s Dance gets the season up and running this evening. Many thanks to Tom for his responses; you can also read the programme note of his piece after the questions. Read more

Tags:

Cheltenham Music Festival: Tenebrae

Posted on by 5:4 in Cheltenham Music Festival, Concerts | 2 Comments

What is it with British contemporary choral music? i found myself asking that question constantly during the fourteen minutes of Footsteps, the work that opened last night’s Cheltenham Music Festival concert in Tewkesbury Abbey, given by the vocal ensemble Tenebrae. It perhaps goes without saying that one makes a double set of allowances when considering contemporary music for choirs. Within British life and culture, such music is focused almost entirely within the realm of religious services. If you’re thinking the next step of this argument is to stress how such choirs are invariably amateur, and therefore unable to handle the more imaginative machinations of contemporary musical thought and practice, then (up to a point) i don’t really believe this to be true. Speaking as one who has both participated within and directed choirs, the religious faithful of the British Isles are among the most culturally conservative people i have ever encountered, for whom dissonances are iniquities to be temporarily endured until the resolution that will – must! – surely come.

This, as far as i’m concerned, is the primary allowance that one is forced to make when considering British contemporary choral music. Much of it can be regarded as functional, and as such needs primarily to please the people for whom it functions. i’ve said this before, quite a while back now, but tuning into any weekly broadcast of choral evensong on Radio 3 is to travel back in time and step into the aural equivalent of a museum, music trapped in aspic, and this is for the most part no less true when contemporary music is included. The amateur aspect is the secondary allowance one usually has to make, but this obviously doesn’t apply when the music is written for choirs of a high standard, such as Tenebrae. But wouldn’t it be nice if composers of this stuff could challenge the necessity of these allowances, reach a little further and employ some of that spirit of adventurous, unafraid, fundamental questioning of the conventional way of doing things that supposedly underpins – indeed, inaugurated – the very faith for which their music is being written? After all, institutions, if they progress at all, do so at a pace that—well, to call it glacial would be a compliment (just look at the Church of England’s ongoing inability to accommodate, let alone accept, gay people in their midst). So what is it with British contemporary choral music? What on earth are their composers so afraid of? Read more

Tags: , ,