Anders Hillborg

HCMF 2016: Trombone Unit Hannover, Klangforum Wien

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The palpable buzz surrounding events at this year’s HCMF featuring music by composer-in-residence Georg Friedrich Haas (of an order considerably greater than that of the previous few years) continued before and during yesterday’s morning concert given by Trombone Unit Hannover. This was no doubt due to the UK performance of Haas’ remarkable Octet, a piece i celebrated earlier this year, but prior to this were three shorter works for solo trombones (it was surprising and very disappointing that the complete ensemble was only featured in that one piece). Another work of Haas’,  aus freier Lust…verbunden…, one of ten solo pieces also performable as a decet, began by episodically exploring different takes, approaches and attempts at melodic utterance, moving back-and-forth between being open and muted (somewhat distracting on this occasion), before passing into painstaking gradations of microtonality (a hint of what was to come later), as though we had zoomed up close to examine the minute undulations on the surface of each pitch. More engrossing was Xenakis‘ short 1986 work Keren, taking the instrument on an even more exhaustive journey by turns fanfaric, lyrical, rude, plaintive, briefly lost and then blazingly focussed, prosaic and profound; having probed the extremes of the instrument, Xenakis finally plunged it into impossible depths. A piece that, thirty years on, still sounds impressively fresh. The last of these three opening ‘overtures’ was provided by Anders Hillborg, whose four-minute miniature Hautposaune is a witty cross between a duet and a squabble, the trombone grappling with a rigorously motoric tape part. Hillborg sets things up so that the one and only chance the instrument gets to break free of the tape’s constraints results in a helping of deliciously ripe cheese, before bringing about a furious, full-throttle conclusion, the piece practically crashing into its final barline like a train smashing into buffers. But, understandably, it was Haas’ Octet that emphatically stole the show, with its astonishing evolution through unisons, near-unisons, clusters, Shepard tone-like overlapping glissandi, quasi organum, harmonic series (beautifully executed with the ensemble partially muted) and ferocious buzzing growls. The way Haas imbues this overall evolution with such a seamless sense of organic inevitability is truly remarkable, and Trombone Unit Hannover’s ability to articulate each element with such ridiculous accuracy is just jaw-dropping. Read more

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New releases: Anders Hillborg, Hans Abrahamsen

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Continuing with Scandinavian new releases, a new disc from Bis featuring four works by Anders Hillborg is a real treat. It’s a generalisation, of course, but the focus of Hillborg’s music tends to be on the surface, and this understandably polarises listeners. Usually, the successes of this approach come out on top, and it’s therefore a genuine surprise to hear the main work on the disc, Sirens, not just falling short, but entirely failing. Using a text drawn from Homer, Hillborg’s setting utilises two soprano soloists, mixed choir and orchestra, and you’d be forgiven through the opening minutes for thinking that the most remarkable mise-en-scène was being established. It is unquestionably striking, but once the choir has entered, and a few minutes later the soloists, it soon becomes clear that nothing is being set up, we’re there already—were there, in fact, at the very start. In a way that directly parallels John Tavener, Hillborg is seeking a 33-minute orgasmic wave, but despite moments of utter beauty, the piece is simply so caught up in the attempt to relay its never-ending ecstatic allure that it becomes overwhelmingly cloying and dumbfounded. The harmonic proximity to the (dis-)likes of Eric Whitacre don’t exactly help. But it’s the odd one out on a disc that is otherwise nothing but a delight. Read more

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Proms 2015: Anders Hillborg – Beast Sampler (UK Première), Raymond Yiu – Symphony & Alissa Firsova – Bergen’s Bonfire (World Premières)

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The latest spate of Proms premières have made for an interesting contrast in terms of abstract versus concrete ideas. At the former end of the continuum—where else would you find him?—was Anders Hillborg and his latest orchestral piece Beast Sampler; at the latter end was Raymond Yiu‘s Symphony, a large-scale work for countertenor and orchestra; somewhere in between was Bergen’s Bonfire, a new symphonic poem from Alissa Firsova.

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Proms 2011: Anders Hillborg – Cold Heat (UK Première)

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Monday evening’s Prom brought one of the pieces i’ve most been looking forward to hear in this year’s season, the first London performance of Cold Heat by Swedish composer Anders Hillborg. Few composers in recent times have revivified the Straussian idea of the symphonic poem more effectively than Hillborg, although his approach avoids overtly programmatic ideas. Hillborg prefers more abstract but no less evocative subject matter, and this train of compositional thought is continued through the fifteen minutes of Cold Heat, which was performed by one of the groups who commissioned the work, the Tonhalle Orchestra Zurich, directed by David Zinman. Read more

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