Éliane Radigue

Éliane Radigue – Occam Delta XV (UK Première)

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To conclude my Éliane Radigue birthday weekend, i’m returning to a work in the Occam series that i’ve briefly written about previously, Occam Delta XV. The piece dates from 2018 and results from a collaboration between Radigue and Quatuor Bozzini. In a way that i hope isn’t too fanciful, the overall structure of the piece is a kind of macrocosm for the moment-by-moment liminality that i’ve been discussing in these articles, and which continually serves to make the Occam works teeter between certainty and vagueness, volatility and calm.

Although the first section of the piece exhibits exactly this same kind of unstable stability, the rich opening chord is delicately robust (i previously described it as “simultaneously final yet provisional”), as if we were hearing a drawn-out resolution – like a squeezebox impossibly moving in only one direction – the composition seemingly ending as soon as it’s begun. But this is Éliane Radigue, and in due course the integrity of this chord becomes slowly undermined and begins to unravel. It’s a process that starts with small-scale, barely noticeable judders, but beyond that it isn’t easy to describe exactly how it happens. It’s rather like the individual pitches gradually migrating tiny distances away from their centres, thereby imperceptibly changing the language of the chord, its inner emphases and, ultimately, its very nature. Read more

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Éliane Radigue – Occam XXI

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The second of the three works i’m exploring in this Éliane Radigue birthday long weekend is also the most austere. Not only is Occam XXI for a single instrument, violin, but also in contrast to perhaps the majority of the Occam series, the harmonic language of the piece is radically pared back, focusing exclusively on just two pitches, G and D. Yet i can’t help feeling that that almost ascetic level of restriction ends up providing perhaps the clearest possible demonstration of the liminality displayed in all of Radigue’s Occam works, always teetering back and forth between opposing senses of stability and instability, fluidity and stasis.

In Occam XXI there’s a similar demonstration of this to that found at the start of Occam River XV. A single pitch G hovers for around two minutes all by itself, and during that time, in addition to wavering and trembling there’s even hints of an inner rhythm, as if we were somehow becoming able to hear the individual pulses – all 392 of them, each second! – that create this pitch. i say 392, but perhaps i mean 784, as even at this stage it’s somewhat unclear which octave the G inhabits, and/or whether we’re glimpsing an upper overtone of a lower pitch. Ambiguity from the outset. Ds and additional Gs emerge in similarly inscrutable fashion, along the way causing strange, brief lowercase pulsings later on that i’ve never been able to decide whether or not are deliberate (or even partly imaginary). But in terms of details, there’s not much more one can say – as i mentioned before, Occam XXI is primarily a kind of archetype vehicle for the essence of Radigue’s critical forms of quasi- (or should that be pseudo-?) equilibrium. Read more

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Éliane Radigue – Occam River XV (World Première)

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A composer whose work i return to more often than most – and find the experience completely different every time i do – is Éliane Radigue. Today is the grande dame’s 88th birthday – joyeux anniversaire! – so, as i did a few years ago, i’m going to devote another long weekend to her music, focusing on the ever-expanding series of works bearing the name Occam. If there’s one thing that could be said to typify Radigue’s Occam series it’s liminality, the creation of a music that is located at a critical point between tension and resolution, movement and rest. One of the most fascinating aspects of this is the way it thereby sounds both endless, broadening our listening horizons to a limitless scope, and infinitesimal, making us focus on the most minute shifts and changes in its quasi-stasis, a classic example of a steady state.

Occam River XV dates from 2017, the product of a collaboration between Radigue, violinist Angharad Davies and double bassist Dominic Lash. That liminality i spoke of is apparent even from the work’s tentative opening moments. A solitary D hangs in the space for nearly a full minute, but not for one second does that note sit still. It wavers and trembles, gently surges and recedes, starting to sound more and more like an electronic tone that’s being tweaked and filtered, in the process altering its timbre and hinting at varying quantities of overtones. Yet it’s still essentially just a D. Whether or not the note is stable depends on your perception, but i’ll suggest the only answer is both, stable and unstable simultaneously. Read more

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Éliane Radigue – Occam XVII

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For the penultimate work in my week-long journey into winter, i’m again turning away from festive music to a piece that continues my preoccupation with the season’s prevailing darkness. Not that the work in question, Éliane Radigue‘s Occam XVII for double bass, has darkness as its theme; her Occam series is primarily associated with water-related imagery (in part literally, the performers being asked to keep images of specific watercourses in mind while playing). But every time i listen to this piece i’m drawn into a soundworld that i think of as a myriad shades of black, having the same kind of inscrutability and, despite first appearances, endlessly shifting surface details (both real and imaginary) of the marvellous black paintings by Ad Reinhardt.

With all of Radigue’s Occam works it’s arguably best just to listen to them rather than read a lot about them – trying to capture something of their inner magic is nigh impossible anyway – so i’ll keep this brief. Occam XVII essentially charts a slow transition from low A to bottom C# on the double bass, but that’s not remotely what the piece is ‘about’ or what’s most interesting about it. The work begins, and is continuously filled, with a plethora of overtones and harmonics ever in flux. Sometimes they suggest the harmonic series, projecting prominent fifths or thirds, but more often they act not as a reinforcement of the fundamental but a kind of challenging colouration of it. Sometimes they shimmer, sometimes they judder, but always they’re in motion, each up- or down-bow seeming either to change entirely or at least subtly alter the agglomeration of pitches magically emerging from the strings. It gives the impression that the instrument is breathing, each inhalation and exhalation a continuation of the same impulse toward deep, dark meditation. Read more

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HCMF 2018: A History of the Voice, Christian Marclay + Okkyung Lee, Quatuor Bozzini

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If there’s one thing guaranteed to generate a load of pre-festival buzz, it’s a major new work by Jennifer Walshe. In recent years, while i’ve admired the invention and audacity of Walshe’s large-scale compositions – 2014’s The Total Mountain and EVERYTHING IS IMPORTANT, performed at HCMF two years ago – penetrating their hysterical (in every sense) exteriors has proved difficult. So i’ll admit to feeling a little trepidation before her latest epic, A History of the Voice, given its UK première by HYOID Contemporary Voices in St Paul’s Hall yesterday evening.

In comparison to those earlier works, this new piece was a much more coherent experience. This was due in part to the fact that Walshe has narrowed the scope of the work’s subject matter, and in tandem with this it has a clear episodic structure. As the title states, the piece is a personal exploration of the voice, personal inasmuch as the history it presents is a subjective one – a history, not the history – reflecting Walshe’s particular outlook and interests. Composed for four singers, the piece again incorporates video, though its primary role in A History of the Voice is contextual, providing introductions and additional commentary on each of the work’s episodes. Read more

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Mixtape #43 : International Women’s Day

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As today is International Women’s Day, for my March mixtape i’ve allowed myself to indulge in a celebration of fabulous music by women composers and musicians. Compared to most of my mixtapes, this was one of the more difficult to create, for two reasons. First, because the shortlist of music i was keen to include wasn’t remotely short, but simply enormous (137 individual tracks, lasting a little over 12 hours), and second, because deciding which of them to omit was tough in the extreme. In the end, though, i found an interesting and, i hope, imaginative way of navigating through such a bewilderingly diverse collection of music. There’s no particular structure to the mix as a whole this time, as i was simply allowing myself to be drawn spontaneously from piece to piece, sometimes smoothly, sometimes breaking things up with non sequiturs.

There’s a not quite even split between instrumental and vocal music, though both of these terms are interpreted pretty eclectically. The latter range across the spectrum of sentiments, from poignant and painful (Brika, Laura Sheeran, FKA Twigs, Galina Grigorjeva, Lori Cullen) to passionate and elated (Anna von Hausswolf, Cocteau Twins, Princess Chelsea, Sleigh Bells, Jackie Trent, Ari Mason, Vanbot, Carice van Houten, Peaches, Trio Mediaeval, Ladyhawke), both of widely varying orders of magnitude, alongside the more reflective (EmikaRóisín Murphy, Demen, Zola Jesus, Nynke Laverman, OY, ionnalee, Robyn) and downright demented (Jennifer Walshe – who else?).

As for the instrumental music, not all of it is non-vocal: the pieces by Gazelle Twin, Lauren Redhead and Annette Vande Gorne occupy an electroacoustic place in between, each utilising voices in different ways. As for the rest, perhaps the most applicable continuum is between strains of agitation and disquiet (Jocelyn Pook, Kristin Øhrn Dyrud, AGF, Copeland, Zeena Parkins, Elizabeth Anderson, Natasha Barrett, Mica Levi, Wendy Bevan, Clara Iannotta, Pauline Oliveros, Rose Dodd, Vanessa Rossetto, Chaya Czernowin, Rebecca Saunders, Arlene Sierra, Galina Ustvolskaya, Line Katcho, Milica Djordjević) and calmer, more measured music (Olga Neuwirth, Linda Catlin Smith, Anna Þordvaldsdóttir, Motion Sickness of Time Travel, Chiyoko Szlavnics, Unsuk Chin, Christina VantzouÉliane Radigue, Delia Derbyshire, Isnaj Dui, Susanne Sundfør).

Elizabeth Parker‘s radiophonic cheerfulness doesn’t qualify as either of those, but then pretty much none of the 60 wonderful pieces i’ve featured on this mix fit neatly within one particular box or label: their inventiveness is boundary-challenging, which makes them ideal for a day like today. Apropos: i’ve ended the mix with a track by Frida Sundemo that beautifully captures a sense of optimism, which i think is also ideal for this particular day; the song’s theme is love, yet its emphasis on ‘flashbacks and futures’ seems an apt phrase for the confident, forward-looking attitude exhibited by all of this music, and which this mixtape celebrates.

The mixtape can be downloaded and streamed below; here’s the tracklisting in full, together with links to obtain each of the albums: Read more

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HCMF 2016: Shorts

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Monday at HCMF is each year given over to a day of free concerts, invariably coming up with a huge variety of musical experiences that makes for an exhausting but (at its best) exhilarating experience. One obviously has to pan for sonic gold on days like this but, as always, it was to be found in abundance.

Zubin Kanga‘s electroacoustic piano recital included _derivations by Australian composer Ben Carey, a piece that, unlike so many in the bloated player-does-something-and-computer-does-something-back category, demarcated the nature, roles and utility of its acoustic/electronic elements perfectly, producing a simple but engrossing study in texture. In the Town Hall, five members of Explore Ensemble gave a marvellously dramatic account of Gérard Grisey‘s 1986 work Talea. The music is very much more spontaneous than Grisey’s programme note would have us believe, and its considerable shifts in energy were navigated with real brilliance; violinist David Lopez deserves a special shout-out for his fantastic playing in the work’s dazzlingly virtuosic conclusion.

Susanne Peters and Sarah Saviet weren’t done any favours by having their piccolo and violin recital located in St Thomas’ Church, a building that is as attractive inside as it is an effective amplifier for every bit of wind outside. Considering by this time of the day Storm Angus was lashing Huddersfield in a way unlike anything i’d hitherto experienced during the festival, the duo were seriously up against it. Evan Johnson‘s L’art de toucher le clavecin unfortunately didn’t stand a chance; the beautiful way Johnson seemingly fashions the music from wisps of smoke was barely audible (and i should point out i was sat barely a couple of metres away). Bruno Maderna‘s miniature Dialodia fared better, a blink-and-you’ll-miss-it morsel of light lyricism, the players exercising a modicum of freedom while remaining in each other’s orbit. Rising above the elements best, though, was Timothy McCormack‘s Glass Stratum, an exhilaratingly involving piece that first compartmentalises the players with discrete behavioural characteristics—the piccolo pensive, the violin more demonstrative—before causing them to permeate, penetrate, blend and merge, ultimately becoming dual aspects of a single musical entity. There was an intense air of intimacy throughout, as though the duo were playing to/with each other in private. Read more

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Éliane Radigue – OCCAM DELTA IV

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It’s the grande dame‘s birthday today, and i’m rounding off my Éliane Radigue long weekend with another work from the OCCAM OCEAN series, one that in some respects combines those featured in the last couple of days. OCCAM DELTA IV, for bowed harp, microtonal tuba and cello, dates from 2013, and initially focuses extremely intently on a low C. Once again, it’s a drone in which assorted partials can be heard to differing extents, colouring its timbre; here, though, the drone is underpinned with some octave lower pedal notes from the tuba, rendering the drone itself essentially an overtone on this occasion (again a parallel with The Hafler Trio’s Trilogy in Three Parts, in this case the final part). Read more

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Éliane Radigue – OCCAM XI

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For the second day of my Éliane Radigue long weekend, another work from the OCCAM OCEAN series, and a particularly austere one. Composed in 2013, OCCAM XI is not simply for solo tuba, but solo microtonal tuba, specifically that of British tubist Robin Hayward. Not that that’s immediately obvious from the music, but then it’s not immediately obvious that a tuba is involved at all.

The work’s 13-minute span falls into three sections, the first of which contains a low F, articulated as a series of fragile fragments, air and vocal noise at the fringes, with both its pitch centre and its overtones undulating slightly, moving between different vowel shapes. The sound is a curious cross between throat singing and a kind of ancient reed instrument—almost, in fact, as though the instrument itself had found sentience and was attempting to speak; decidedly fascinating and unsettling. The second section, around the midpoint, shifts up a fifth and becomes more sustained, the tuba’s sounds much less differentiated but suggesting something more ritualistic, its strangely dogged persistence hinting at some higher purpose, as though casting a muffled incantation. Read more

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Éliane Radigue – OCCAM RIVER XII (World Première)

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This coming Sunday is French composer Éliane Radigue‘s birthday, so by way of a little celebration, i’m going to devote a long weekend to some of her more recent work. Having spent much of her life creating electronic music (exclusively composed on the ARP 2500), for the last decade-and-a-bit Radigue’s attention has been turned towards acoustic instruments. Her work is characterised by slowly-moving sound materials, often in the form of drones, becoming focused epicentres of pitch around and about which other sounds are heard, either actually being or at least appearing to be integrated with and/or emanating from those epicentres, resulting in complex beats and harmonic undulations. No doubt informed by being a practicing Buddhist, these intense soundworlds, caught between stasis and movement, continue to fascinate Radigue, as can be heard to good effect in her ongoing OCCAM OCEAN project. Read more

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HCMF 2014: Shorts, Feldman’s Pianos, asamisimasa

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Yesterday was HCMF’s annual day of ‘Shorts’, concerts of between 20 and 40 minutes, affording the opportunity to hear an exceptionally diverse range of music. Taken as a whole, it’s a cross between an Aladdin’s cave and one of those machines with the grappling hook that you find in amusement arcades: you’re not really sure what you’ll get, but every now and again it’s something really special. Among the highlights was guitarist Diego Castra Magaš‘ rendition of Michael Finnissy‘s Nasiye, a passionate work that transmits both dignity and authenticity, the Kurdish folk music that inspired it running like a thread throughout, movingly brought to the surface in its intense closing climax. Double bassist Kathryn Schulmeister gave a stunning account of two pieces by Catalonian composer Joan Arnau Pàmies, the latter of which, [k(d_b)s], set about forging a new musical language from scratch, de-coupling performance parameters and working with them independently; it began sounding like a swarm of bees angrily trying to sting their way out of a jiffy bag, but where it went from there is impossible to describe—suffice to say it was truly remarkable, and the same goes for Schulmeister’s performance, turning an ostensibly ungainly instrument into a writhing white-hot crucible. Read more

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Mixtape #17 : Lay the Voice to Rest, Dear Mist (In Memoriam Danielle Baquet-Long)

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How quickly a year passes. On this day, 12 months ago, Danielle Baquet-Long died, bringing to an abrupt end the remarkable musical project that she and husband Will had crafted together for several years. Of course, music, like life, goes on regardless, and the prospect of plenty more releases yet to come from both Celer and Chubby Wolf (Dani’s solo project) continues to be an exciting one.

To mark today’s sad anniversary, the new 5:4 mixtape is in Dani’s memory, bringing together a diverse selection of music that broadly falls into the ‘ambient drone’ category. Drone has entranced me since i was pretty young; in the right hands, it has a quality that always seems familiar, yet somehow achingly inscrutable and difficult to define; close and intimate, yet also impossibly distant. But this kind of music (and certainly on an occasion such as this) is perhaps best not written about in too much detail; suffice it to say the examples here range from vast, dazzling textures that seemingly envelop everything in sight to gentle half-heard whispers. Of course, Dani’s own music is included, the final (very brief) example of which gives the mixtape its name.

In total, two and a half hours of music to commemorate the life of one of ambient’s more insightful and imaginative figures. The complete playlist is as follows: Read more

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