Newly available this week from the thoroughly ambitious Huddersfield Contemporary Records is Exposure, a collection of choral works performed by contemporary music’s most adventurous cluster of vocalists, Exaudi Vocal Ensemble, directed by James Weeks. As with all of HCR’s releases (the rest of which are well worth exploring – details here), the featured composers are an eclectic mixture, demonstrating well the range of Exaudi’s interests & skills. It is by far the most radical disc of vocal music i’ve encountered in a long time, an exploration that takes real risks both in terms of choice of repertoire as well as the pressures brought to bear on the singers themselves.
Of course, going out on a limb is fraught with dangers, & there are pieces on this disc that work far better in theory than practice. Not many, thankfully, but Joanna Bailie‘s three-part Harmonizing—seeking to tease out pitched material from field recordings & meld it into corresponding vocal parts—lacks conviction in the attempted correlation, & the method (somewhat hackneyed in any case) only seems to emphasise its subjectivity & arbitrariness, narrowing the scope of these ‘artificial environments’. The second of the three succeeds best, but the other two are forced & boring respectively. Bryn Harrison‘s eight voices suffers in similar fashion, the twists of its repeating material (rather like a convoluted isorhythm) sound marvellous as an idea, but the piece displays minimal result from maximum effort, rapidly losing its ability to command attention. Here, though, Exaudi’s deeply impressive control & consistency frequently distract one from the work’s shortcomings.
The first day of my weekend at HCMF ended back where it had begun, in St Paul’s Hall, for a late-night concert by Ensemble Resonanz, conducted by Peter Rundel. The concert was broadcast live on Radio 3 & comprised just three pieces, all focussing on strings, two of which featured solo cello, played by Jean-Guihen Queyras.
It began with the UK première of Rolf Wallin‘s Ground, the title of which alludes to the cyclic Baroque form of divisions, whereby a repeating bassline (the ground) is gradually overlaid with layers of faster material. That description probably suggests a certain amount of mayhem, but Ground is a decidedly pensive piece—Wallin describes it as “about finding rest”—in which the solo cello is closely surrounded by the rest of the strings, together forming a close collaboration. Furthermore, while the work has no repeating bassline (seven chords are the indiscernible equivalent here), it is highly episodic, exploring an extensive cycle of moods & atmospheres. A collaboration it may be, but it’s an intrepid one, bringing to mind a gradual descent into the earth (a connotation of the title?), passing through increasingly dark & ambiguous layers of strata. What makes the piece particularly interesting is its central melodic identity; Wallin allows tension to manifest itself in diffident, unstable music, but it never comes off the rails, preserving the sense of a pre-planned mission, rather than a mystery tour. At the work’s conclusion it enters its most cryptic episode; bordering on a stasis, both soloist & strings arrange themselves into a dense web of gently wafting notes. It begs the question: is this the ‘rest’ Wallin was striving for? or is the mission not yet completed? Read more