Carla Rees

Plumbing the depths: Rarescale summer school

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It would be pretty remiss of me not to make some mention of the Rarescale summer school, which was my home and my entire focus for the entirety of last week. Rarescale is a chamber music ensemble founded by flautist Carla Rees, which specialises in new music for the deeper members of the flute family (alto, bass and, most recently, contrabass) alongside works for woodwind in general. Rarescale’s contemporary focus extends to a yearly summer school, where a small group of flautists and composers are thrown together for an intense five-day period of creation and collaboration. The composition side is overseen by Rees’ long-term collaborator (and Rarescale’s composer-in-residence) Michael Oliva, enabling composers to explore a variety of aspects of electronics alongside acoustic writing. i described the school as intense, yet the entire setup is extremely relaxed; classes are timetabled each day, but performers and composers are free to shape the week according to their needs and whatever direction seems fruitful; the only caveat being that everyone’s labours are channelled towards a Friday evening concert showcasing everyone’s work. This unavoidably leads to an acute intensity of focus, but in the best and most beneficial of ways.
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Mix Tape #25 : Best Albums of 2012

Posted on by 5:4 in Best of the Year, Mix Tapes | 7 Comments


Today marks 5:4‘s fifth anniversary, & so i’d like to take this opportunity to thank all of you who regularly read, share & respond to the articles & music explored here. Since 2008, the blog has grown from being an occasional hobby (reading the earliest articles, that fact is rather painfully obvious) to something that now receives significantly more time & attention. i very much hope that 5:4 can grow & become even more interesting & useful in the next five years; all comments, criticisms, suggestions & other feedback is always very warmly encouraged.

But to return to the present, & to continue our annual tradition, here is a new mix tape featuring one track from each of the forty entries on my Best Albums of the Year list. The mix includes more extreme dynamic variety than in previous years, so while i’ve done a little to mitigate that, be warned that at times the music veers between extremely soft & very loud indeed. As ever, if you like what you hear in the mix, please support the artists & buy the music; links are included on the last two days’ posts.

i’ve remarked in the past on the provisional nature of all ‘Best of’ lists, & so to keep things current, i’ve updated the summaries of the Best Albums/EPs of the Years, to reflect further listening than had been possible at the time; the revised lists can be found under The Lists on the main menu.

The mix tape lasts a little under 3½ hours; here’s the tracklisting in full: Read more

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Best Albums of 2012 (Part 1)

Posted on by 5:4 in Best of the Year, New releases | Leave a comment

This is a list surrounded by other lists leading to other lists, lists … that explain everything by being gateways into worlds of sound, feeling and information…
…the love of making lists is an attempt to remind us of what it is that has happened, and what is happening, all at once, as time and humanity collapses into itself. …
The list is a collage of hopes and wishes, of knowledge and exhibitionism.
(Paul Morley, Words and Music)

So we move on to the list of lists, the forty albums that have made the greatest impact over the last twelve months. Here are the first twenty to have made the cut.

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No small triumph: Carla Rees & Scott Miller – Devices and Desires

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Many’s the time in the last few years when, both in the concert hall & at home, i’ve found myself listening to yet more music for random-acoustic-instrument plus electronics—& been absolutely bored off my face. The quest for novelty seems to have ruled the electroacoustic roost for years & years, dominated by an approach to music-making that largely consists of: instrumentalist plays some material; computer (i.e. Max/MSP patch) does something with that material; instrumentalist responds to the computer; & back & forth until one of them decides to stop. Often the nature of the relationship between player & computer, as well as a sense of structural coherence & inner logic, are both fuzzy & ill-defined, & while works like this may perhaps have a skin-deep beauty that’s briefly beguiling, ephemerality remains their strongest characteristic.

It’s no small triumph, then, that the new CD from Carla Rees & Scott Miller, exploring music for flute & electronics, is so exciting & memorable. The title, Devices and Desires, is allusive—not a million miles from Ligeti’s ‘Clocks & Clouds’—evoking cool & hot impulses, a juxtaposition of measured rationality with unpredictable whim. From this melting pot of head & heart, Rees & Miller have created six pieces that each occupy a different position on the composed/improvised continuum, including “a fully composed work …, structured improvisations … and free improvisations … All of the electronic sound heard on the CD is the result of processing the sound of the flute, whether in real-time, from a sample taken earlier in the performance, or from a recording made years before we made the recording” (from Scott Miller’s programme notes). Both flute & computer fall outside convention; Miller uses the Kyma X sound design environment, while Rees uses a Kingma System C flute, an instrument designed to enable quartertones to be easily played. These instruments were brought together in “an inspired three-hour recording session”, & the result is Devices and Desires.
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