Catherine Lamb

Catherine Lamb – portions transparent/opaque (World Première)

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

I am interested in the long introduction (unfolding) form, in elemental tonal interaction, in aggregation and augmentation, in liminal perceptual states, shifts in density, the filtered atmosphere, and intense, focused experiences.

This is how US composer Catherine Lamb summarised her music to me in 2017. On that occasion, they served as an introduction to her then new piece Prisma Interius V, being premièred at that year’s Proms, but they apply just as much to portions transparent/opaque, composed in 2014. The work’s title hints at the presence of light, and this is primarily explored in an atmosphere of constantly shifting colour and clarity. In addition to these aspects, Lamb throws in a couple more, titling the work’s two movements ‘expand’ and ‘saturate’ respectively, suggesting something of the way this atmosphere manifests within its broader theoretical space or boundaries.

Using just the strings of the orchestra, ‘expand’ sets up thin, drawn-out lines of microtonal pitch, shaded with varying quantities of noise. Initially, though faint, these lines are concentrated in a small space, like the beam of a flashlight in thick fog. The fact that it’s obviously a tight cluster makes no difference to the integrity of what is practically a single, multifaceted line. Only very slowly does the titular expansion start to take effect, the widening harmonic palette articulated in alternation with brief hiatuses. Read more

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Proms 2017: Missy Mazzoli – Sinfonia (for Orbiting Spheres) (European Première); Catherine Lamb – Prisma Interius V; Emilie Levienaise-Farrouch – The Minutes (World Premières)

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

The last three Proms premières, though very different in some respects, shared some important things in common. All of them, Sinfonia (for Orbiting Spheres) by Missy Mazzoli, Prisma Interius V by Catherine Lamb and The Minutes by Emilie Levienaise-Farrouch, eschew silence and focus primarily on harmonic movement – or, more specifically, on the (juxta)positioning of pitches to harmonic ends. In tandem with this, they also all broadly adopt an approach that treats the performance space as a vessel into which sound is poured.

For Missy Mazzoli, the space was, literally, space, her music cast “in the shape of a solar system” (her words). The piece began life in 2013, in a version for chamber orchestra that she later expanded to full orchestra, and which was first performed in February last year. Drawing on the double-meaning of ‘sinfonia’, which in Italian used to refer to the hurdy-gurdy, this can be felt in the way pitches are drawn-out and sustained and slide, and in the small ornamental embellishments (ever so slightly redolent of James MacMillan) that are quickly established to be one of the work’s most characteristic musical elements. In its own particular way, the music clearly wants to sing – its melodic urge is paramount – but the way it does this is always in relation to and as a somewhat secondary consideration to its harmonic foundation, which is mobile yet attracted to certain fundamentals, drifting between poles of tonal certitude. Read more

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Proms 2017: pre-première questions with Catherine Lamb

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Concert halls be damned! Tonight the Proms makes another of its peripatetic excursions beyond the confines of the Royal Albert Hall, paying a first visit to The Tanks at Tate Modern. Among the music being performed will be the world première of Prisma Interius V by experimental American composer Catherine Lamb. To get you whetted and prepped, here are her responses to my pre-première questions, along with a programme note for her piece. Many thanks to Catherine for her answers.
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