Beat Furrer

Forum Wallis 2019 (Part 2)

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The main focus during the five days of concerts at Forum Wallis was on ensemble and chamber music. An important and impressive feature of these concerts was their aesthetic diversity, not showing a marked preference for certain kinds of music-making. This resulted in extremely different – sometimes, practically opposite – works sitting side by side, providing a shifting and engagingly unpredictable experience. That being said, diversity of gender was overwhelmingly absent: just five of the 39 works performed during the festival were by women composers, a pretty bleak statistic that artistic director Javier Hagen would do well to significantly improve in future years.

Three ensembles were featured: two visiting, one in residence. On the opening night, Freiburg’s Ensemble Aventure performed a programme focusing on Latin America. The only piece that overtly referenced this was Javier Álvarez‘s well-known Temazcal for maracas and tape, and while from my perspective the piece, despite its age (composed in 1984), has lost none of its freshness and vitality, it was interesting to compare notes with a trio of young Mexican composers (taking part in the festival’s Composer Academy) who clearly found it rather more irritating, particularly its (to my mind) amusing, folk-infused conclusion. Either way, percussionist Nicholas Reed’s rendition of the work was excellent, not merely meticulous but extremely elegant. Both Leonardo Idrobo‘s macchina and Graciela Paraskevaídissin ir más lejos positioned their materials with utmost care. For Idrobo, the music lived up to its name, turning Ensemble Aventure into a machine-like mechanism that nonetheless exhibited a great deal of spontaneity and caprice; Paraskevaídis’ music was more emotionally-charged, caught between seriousness and volatility, never sounding portentous but packing a lot of emotional weight that interestingly never quite resolved into something concrete. Quema, a trio for oboe, clarinet and bassoon by Natalia Solomonoff, was similarly conflicted, alternating harsh, dissonant tuttis with more thoughtful, inward episodes where the players all felt constricted, as if struggling to make any sound emerge from their instruments; it was all marvellously dramatic. Read more

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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 focused, 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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