Rebecca Saunders – still (World Première)

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Rebecca Saunders at 50The next piece i’m looking at in my Lent Series celebrating the music of Rebecca Saunders is something of an exception on 5:4, as it’s a work i’ve written about before. Saunders’ violin concerto still dates from 2011, and i explored the piece six years ago, following its first UK performance at the Barbican in February 2012. The world première, performed by the same forces – soloist Carolin Widmann and the BBC Symphony Orchestra, conducted by Sylvain Cambreling (Lionel Bringuier directed the UK première) – took place several months earlier, on 29 September 2011 at the Beethovenhalle in Bonn, as part of that year’s Beethovenfest. It’s fascinating to return to this piece and appraise it afresh, both from the perspective of that alternate performance as well as with regard to Saunders’ other work.

Once again – it’s tempting to say ‘as ever’ – Saunders draws on Samuel Beckett for inspiration: the title of the work comes from Beckett’s short story Still, the final lines from which Saunders quotes in the preface to the score:

As if even in the dark eyes closed not enough and perhaps even more than ever necessary against that no such thing the further shelter of the hand …
Leave it so all quite still or try listening to the sounds all quite still had in hand listening for a sound.

This is expanded upon in Saunders’ usual way through having meditated upon the meaning and connotations of the word ‘still’, which she likens to “unchanging, ongoing, with an exhausting insistence, always, in essence, the same”, “stasis … two starkly contrasting states, in a fragile state of equilibrium” and “the framing of sound with silence, of ‘stillness’ imagined – silence being an endless potential, waiting to be revealed and made audible”, leading to a behavioural character summarised as “pulling gently on the fragile thread of sound, drawing out from the depths of imagined silence; or alternatively, sound erupting from the stasis of relative silence”.

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Mixtape #43 : International Women’s Day

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As today is International Women’s Day, for my March mixtape i’ve allowed myself to indulge in a celebration of fabulous music by women composers and musicians. Compared to most of my mixtapes, this was one of the more difficult to create, for two reasons. First, because the shortlist of music i was keen to include wasn’t remotely short, but simply enormous (137 individual tracks, lasting a little over 12 hours), and second, because deciding which of them to omit was tough in the extreme. In the end, though, i found an interesting and, i hope, imaginative way of navigating through such a bewilderingly diverse collection of music. There’s no particular structure to the mix as a whole this time, as i was simply allowing myself to be drawn spontaneously from piece to piece, sometimes smoothly, sometimes breaking things up with non sequiturs.

There’s a not quite even split between instrumental and vocal music, though both of these terms are interpreted pretty eclectically. The latter range across the spectrum of sentiments, from poignant and painful (Brika, Laura Sheeran, FKA Twigs, Galina Grigorjeva, Lori Cullen) to passionate and elated (Anna von Hausswolf, Cocteau Twins, Princess Chelsea, Sleigh Bells, Jackie Trent, Ari Mason, Vanbot, Carice van Houten, Peaches, Trio Mediaeval, Ladyhawke), both of widely varying orders of magnitude, alongside the more reflective (EmikaRóisín Murphy, Demen, Zola Jesus, Nynke Laverman, OY, ionnalee, Robyn) and downright demented (Jennifer Walshe – who else?).

As for the instrumental music, not all of it is non-vocal: the pieces by Gazelle Twin, Lauren Redhead and Annette Vande Gorne occupy an electroacoustic place in between, each utilising voices in different ways. As for the rest, perhaps the most applicable continuum is between strains of agitation and disquiet (Jocelyn Pook, Kristin Øhrn Dyrud, AGF, Copeland, Zeena Parkins, Elizabeth Anderson, Natasha Barrett, Mica Levi, Wendy Bevan, Clara Iannotta, Pauline Oliveros, Rose Dodd, Vanessa Rossetto, Chaya Czernowin, Rebecca Saunders, Arlene Sierra, Galina Ustvolskaya, Line Katcho, Milica Djordjević) and calmer, more measured music (Olga Neuwirth, Linda Catlin Smith, Anna Þordvaldsdóttir, Motion Sickness of Time Travel, Chiyoko Szlavnics, Unsuk Chin, Christina VantzouÉliane Radigue, Delia Derbyshire, Isnaj Dui, Susanne Sundfør).

Elizabeth Parker‘s radiophonic cheerfulness doesn’t qualify as either of those, but then pretty much none of the 60 wonderful pieces i’ve featured on this mix fit neatly within one particular box or label: their inventiveness is boundary-challenging, which makes them ideal for a day like today. Apropos: i’ve ended the mix with a track by Frida Sundemo that beautifully captures a sense of optimism, which i think is also ideal for this particular day; the song’s theme is love, yet its emphasis on ‘flashbacks and futures’ seems an apt phrase for the confident, forward-looking attitude exhibited by all of this music, and which this mixtape celebrates.

The mixtape can be downloaded and streamed below; here’s the tracklisting in full, together with links to obtain each of the albums: Read more

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Rebecca Saunders on record (Part 2)

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Rebecca Saunders at 50In continuing my survey of recordings of Rebecca Saunders‘ music, i’m turning my attention now to works that are earlier than everything i’ve explored so far. Stirrings Still, released in 2008 on the Wergo label, is an excellent survey of what we might call (for now, at least) ‘mid-period’ Saunders, featuring five works dating from the period 1999 to 2006. It’s interesting to note the aspects of similarity and difference between these pieces and her more recent work.

The Duo for violin and piano was originally composed in 1996, revised three years later, and its main concern, rather than on a specific musical idea or gesture, is on the nature of the relationship between the two players. In this regard, it can’t be insignificant that the work’s original title was A thin red line – making it the third work of Saunders’ to feature a colour in its title, after CRIMSON – Molly’s Song 1 (1995) and the under-side of green (1994) – as this original title, with its clear connotation of courageous, indefatigable military resistance to attack, is quite clearly paralleled in the roles taken by the violin (protagonist) and piano (antagonist). However, in changing the title to Duo, Saunders makes a much more subtle point: a duo is definitely what they are, but what they never do is duet. Read more

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Electric Spring 2018

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

Huddersfield is supremely talented at providing distractions (and shelter) from the vicissitudes of winter: HCMF does the honours at the start of the season, in late November, whereas at the other end, in late February, it falls to the university’s annual five-day festival of “electronic sonic exploration”, Electric Spring.

There are various reasons why over the last few years i’ve grown to love Electric Spring. First, it’s the mix of familiar and – most often – unfamiliar names: at most festivals one encounters the same composers again and again, and it’s exciting to have minimal use for one’s expectations. Second, it’s a festival that’s prepared to take big risks: of course, they don’t always work, but its preparedness to go places and try things fearlessly is so admirable, and whichever way the results go, they’re often spectacular. Third, i’ve rarely encountered such inordinate attention to detail in concert giving: everything from the sound system – based around HISS, the ultimate wet dream for surround sound enthusiasts – to the lighting to the stage presentation and everything else is always carefully considered and clearly matters enormously to everyone involved in putting the festival on. And fourth, which only makes my third reason more remarkable, all of the concerts are free, making Electric Spring, besides all else, an amazing act of generosity. Read more

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Rebecca Saunders – Stirrings (UK Première)

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Rebecca Saunders at 50i’ve already used the word ‘obsessive’ in this Lent Series, and i’m sure i’ll be using it again in due course, but it’s important to note that the strain of obsession that repeatedly rears its head in Rebecca Saunders’ music is a reflection of her own compulsive attitude towards sounds and ideas. In my discussion of murmurs i remarked about the work not being a comment on society, and this is due to the fact that Saunders overwhelming concern – not just in this piece but in much of her output – is directly with sound itself, the way a certain action or gesture speaks, both in its own right as well as within different contexts, juxtaposed with other gestures or actions. Her fascination is so meticulous that it seems almost anthropological – sounds, instruments and players as discrete species being rigorously researched – and as a consequence becomes an obsession that not only manifests within compositions but across them, to the point where one wonders whether there’s a certain amount of tautology in her work, due to the behavioural similarity between certain pieces.

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Rebecca Saunders on record (Part 1)

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Rebecca Saunders at 50Alongside the individual pieces i’m focusing on in this Lent Series, i’m also going to be providing an overview of as much as possible of Rebecca Saunders’ music that has been released commercially. When i started planning this series of articles last autumn, my perception was that there wasn’t very much of her music available, but investigating more thoroughly has revealed that around half of her compositions to date – 28 pieces – have been released on CD and/or digital formats, though in some cases the recordings are a little tricky to track down. i’m going to start by looking at three pieces that make for an interesting comparison with the pair of works i’ve explored so far. Read more

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Electric Spring/Ambient@40

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A quick, last-minute heads-up about Huddersfield University’s annual blow-out celebrating all things electronic, Electric Spring, which starts this evening and runs until Sunday. This year’s programme is typically diverse: Philip Thomas and Colin Frank will be performing works for piano, percussion and electronics, Freida Abtan will present a 21-minute audiovisual work “inspired by the logic of dream narrative”, while Rodrigo Costanzo, Brian Crabtree and Angela Guyton will explore improvised pieces, some of which involve dynamic lighting and video. The concerts are once again supplemented with opening acts, from Aaron Cassidy, Sam Gillies, Katy Gray and Owen Green, plus a couple of late-evening shindigs from the BaconJam collective and Sebastien Lavoie. As usual, it’s a mix of names i know and plenty i don’t, so it promises to be an exciting and unpredictable adventure. All concerts are free, and start at 7:30pm in Phipps Hall, in the Creative Arts Building. Full details on the Electric Spring website.

The Saturday evening concert ties in with the Ambient@40 conference, which runs from Friday to Saturday. The conference promises to be a fascinating investigation, with a multifaceted collection of papers and performances exploring ambient from aesthetic, strategic, influential and many other angles, topped off with a keynote from none other than Ocean of Sound author and Brian Eno collaborator David Toop. The Saturday evening concert features a variety of music connected in different ways to ambient, by Robert Mackay, Rupert Till, Kristina Wolfe, Szafranski duo, Tim Howle and myself. i’ll be presenting new live versions of two of my indeterminate works, February 12, 2013, which has not been heard before, and February 24, 2013, originally created for the Imperfect Forms Kenneth Kirschner ebook project. The full programme for the conference, including abstracts for all the papers and presentations, can be viewed on the Ambient@40 website.

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