electroacoustic

Electric Spring 2018

Posted on by 5:4 in Concerts, Premières | 1 Comment

Huddersfield is supremely talented at providing distractions (and shelter) from the vicissitudes of winter: HCMF does the honours at the start of the season, in late November, whereas at the other end, in late February, it falls to the university’s annual five-day festival of “electronic sonic exploration”, Electric Spring.

There are various reasons why over the last few years i’ve grown to love Electric Spring. First, it’s the mix of familiar and – most often – unfamiliar names: at most festivals one encounters the same composers again and again, and it’s exciting to have minimal use for one’s expectations. Second, it’s a festival that’s prepared to take big risks: of course, they don’t always work, but its preparedness to go places and try things fearlessly is so admirable, and whichever way the results go, they’re often spectacular. Third, i’ve rarely encountered such inordinate attention to detail in concert giving: everything from the sound system – based around HISS, the ultimate wet dream for surround sound enthusiasts – to the lighting to the stage presentation and everything else is always carefully considered and clearly matters enormously to everyone involved in putting the festival on. And fourth, which only makes my third reason more remarkable, all of the concerts are free, making Electric Spring, besides all else, an amazing act of generosity. Read more

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Free internet music: Martin Stig Andersen – Rabbit at the Airport

Posted on by 5:4 in CD/Digital releases, Free internet music, Thematic series | 2 Comments

Next up in my series looking at free internet music is a triptych by Danish composer Martin Stig Andersen. To many, Andersen is likely best known for his award-winning music and sound design work on Limbo, one of the most breathtakingly stunning – and, often, terrifying – video games of recent times. A few years before this, from 2006 to 2008, Andersen created the three parts of the wonderfully-named Rabbit at the Airport, a 35-minute work combining electronic sound with bass clarinet, played by Gareth Davis. In my lengthy Dialogue with Davis, we discuss his collaborations with Andersen, and in the course of that discussion (which starts around 1 hour 25 minutes in) i was amazed to learn that all of the electronic sound through the three movements of the piece is directly derived from Davis’ clarinet:

SC: The sound world, especially in the three Rabbit at the Airport pieces, is astonishing, just astonishing. Although the relationship between the [electronic] material and what you’re doing is interesting because there are times, especially the first one, i think, where you are practically squashed by the electronics.

GD: Yes, although everything is me playing, it’s all live.

SC: Is it all you? Everything we hear?

GD: It’s all me, everything you hear is me. He constructed a kind of distortion using the pickup from an old record player, so he has the signal go through a pickup then through a kind of sonar device. So he constructed a mechanical distortion of sorts.

SC: i always thought it was almost like you pitted against the electronics, but in fact it’s all—

GD: It’s all just me. How it goes, as an album, you have this, first, really distorted, mechanical thing. And then when you get to Rabbit at the Airport II, then it’s pitting the real sounds of the clarinet against the distortion. […] And then III is more floaty, the scary rabbit’s gone.

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New releases: John Wall & Mark Durgan, John Edwards/Mark Sanders/John Wall

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Regular readers of 5:4 will know how fascinated i am by the music of John Wall, and the last couple of months have seen two new releases featuring Wall alongside some his most long-standing collaborators.

In collusion with Mark Durgan is Contrapt, a 39-minute sequence of pieces culled from free improvisations the duo made over a three-year period, from 2012 to 2015. In Wall’s case, ‘culled’ would seem to be precisely the right word. i’ll say more about this when discussing the other disc, but the fact that three years’ worth of improvisations can be distilled down into not much more than half an hour says something to the way in which Wall approaches the editing process (in all of Wall’s collaborations, he is responsible for the editing of the material).

There are instances, particularly in Wall’s more recent output, when the different tracks on a disc can feel disconnected from one another, like separately-filmed scenes placed side-by-side to form a movie demarcated by jump-cuts. But not on Contrapt. Here, the seven tracks become segments of a larger, integral whole, cross-referential both specifically (in terms of material) and generally (behaviour and timbral palette). One of the most striking qualities displayed throughout the disc is physicality. Electronic music so often sounds like what it is – a stream of 0s and 1s that, whatever their lineage may be, reside within and emerge from the processing circuits of a computer. But throughout Contrapt there’s a vivid sense of objects (whether real or virtual) being wielded, handled, struck and otherwise manipulated, sometimes shape-shifting into tubular noise formations, substituting impacts with turbulence. As ever, the relationship between pitch and noise is a fascinating one. It’s easy to focus on the fragmented, filigree surfaces, or get swept along on the torrential streams of burbling grit and glitter (which i’ve previously likened to ‘alien data’) but within and around them broader sonic events take place. Underlaid low tones appear in the eponymous first segment, distant and ephemeral but present nonetheless, whereas in ‘Rapt’ pitch is used more overtly, forming lovely gliding tones that spiral spontaneously out from the main texture before being absorbed back into it. Read more

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HCMF 2014 revisited: Luis Codera Puzo – π

Posted on by 5:4 in Festivals | Leave a comment

One of the most unusual concerts at HCMF 2014 was given by Spanish ensemble CrossingLines. When i say ‘unusual’, perhaps i mean ‘impenetrable’; most of the works in the concert, by composers from Spain and Chile, were challenging to the point of wilful oddity. There was, however, one glorious exception: π by CrossingLines artistic director Luis Codera Puzo, a work for trombone, electric guitar, double bass, glockenspiel and electronics. The title is a simple metaphor, Puzo embracing π’s twin nature, being a defined, constant quantity yet irrational and therefore impossible fully to describe. For Puzo, this becomes a sonic duality, “something with a clear and unequivocal presence, which is real and concrete, and at the same time is something which cannot be pinned down, which resists any kind of complete codification”.

This becomes manifested in various ways. It’s perhaps unusual to ascribe dynamics as a primary compositional element, but Puzo has deliberately created the majority of his material such that it sounds achingly fragile, strange little soft sounds that tremulously fit together into a texture that coheres yet which often sounds barely more substantial than a piece of graphene. Read more

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Electric Spring 2015

Posted on by 5:4 in Concerts | 2 Comments

i don’t know which felt more strange, being in Huddersfield for a music festival in February (rather than November), or the fact that, somehow, for two decades the university’s Electric Spring festival has entirely passed me by. Better late than never, i suppose, especially as this year’s festival, which took place over five days last week, was celebrating a double anniversary, both the 20 years that Electric Spring has existed as well as the 10 years during which it has been run by composers Monty Adkins and Pierre Alexandre Tremblay (an era which has now ended; in future the festival will be curated by a newly-formed committee).

In addition to various daytime activities—including workshops on sound projection (using Huddersfield’s 48-speaker HISS diffusion system) and live coding (supplemented by a late evening ‘algorave’), as well as an MSP symposium and the ‘Yorkshire wiggle’ modular synthfest—Electric Spring centred on five evening concerts, featuring a headline act and opening with a short work by a different composer. The latter varied considerably in terms of both imagination and execution. Ben PottsCuboid was wilfully obtuse, bookended by bouts of tickling a kind of suspended multiple wobble-board, in between which non-sequitur bursts of shifting bandwidth came and went; it was at least mercifully short. Roberto Gerhard‘s DNA in Reflection (Audiomobile No. 2), composed in 1963, formed the soundtrack to a film by Hans Boye and Anand Sorhabal. This felt problematic in a similar way to some of the film accompaniments by Bernard Parmegiani, insofar as the visuals in no way lived up to the more experimental qualities of the music. Where the film was characterised by symmetry and anecdotal references, full of cycling images with large amounts of repetition, Gerhard’s music, encompassing an extremely wide dynamic range, seemed to follow its own predominately amorphous nose (revealingly, he described it an “aleatoric soundtrack”). The audiovisual combination caused a sharp aesthetic jarring that could only be solved by shutting one’s eyes. β Pictoris b by Olivier Pasquet referred to specifics in its programme note—”an extrasolar planet located approximately 63 light-years away”—but his music could hardly have been more generalised, a study in texture formed from the movement and juxtaposition of a body of timbrally similar particles. This was interesting in and of itself, but how Pasquet’s somewhat psychobabbular description matched his material was mystifying. The highlight of these openers for me was guitarist Diego Castro Magas’ rendition of Aaron Cassidy‘s The Pleats of Matter, completed as far back as 2007 but only now receiving its world première. i’m not sure which aspect was more jaw-dropping, Magas’ performance—involving incredibly fast hand and finger agility, racing up and around the fingerboard, to and from the tremolo bar, while operating two foot-pedals—or the resultant music which, apart from a section toward the end, sounded about as far from guitar music as one could imagine. There was, admittedly, a surfeit of information to grapple with on this first listen, Magas positively ploughing through Cassidy’s layers of simultaneous action (one of the most frantic passages can be seen in the excerpt above), but its soundworld could not have been more urgent and inviting. i can’t wait to hear it again. And again. Read more

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Ana-Maria Avram – Nouvel Archae

Posted on by 5:4 in Lent Series | 1 Comment

Back to my Lent Series, and a rather beautiful work for voice and electronics by the Romanian composer Ana-Maria Avram. Also a pianist and conductor, Avram was born and studied in Bucharest, before moving to the Sorbonne in Paris to pursue a PhD in Musical Aesthetics. Avram directs the Hyperion Ensemble with her husband Iancu Dumitrescu, and together they promote themselves as composers of ‘hyper-spectral’ music, an extension of spectralism encompassing aspects other than just the harmonic, such as timbre and dynamics, and which is particularly interested in how sound operates within the live performance environment. She works extensively with electronics, and her compositional interests can be heard to good effect in her 1998 work Nouvel Archae for “computer-assisted” voice. Read more

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Chiyoko Szlavnics – Materia/Immateria (World Première)

Posted on by 5:4 in Premières | Leave a comment

Due to various compositional projects, i’ve not been able to give 5:4 much focus in the last few weeks, but now that i have some breathing space, it’s time to catch up on the more interesting recent premières and new releases.

As well as being interesting, one of the most unlikely premières took place as part of Glasgow’s marvellously leftfield Tectonics festival. Born in Canada, based in Berlin, Chiyoko Szlavnics‘ music is heard extremely rarely in the UK, and i suspect this is more than a little in part due to the nature of her mode of expression. Szlavnics begins each composition with a drawing; they tend to combine aspects that would seem at home in technical drawings—grids, charts, measurements—alongside elements that are more fluid and improvisational (examples can be seen on her website). The drawing is then ‘translated’ into sound, pitches and durations being derived from the way the drawing presents itself on the page. The result is material composed for the most part of slithering individual lines, each moving slowly, sliding up and down, sometimes hovering, over long periods of time. It makes for an aloof, bald aesthetic, sufficiently challenging that it is hardly surprising (although disappointing) that her work isn’t featured in British concerts more often. Read more

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