ensemble

Dave Price – Twitcher

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The next miniature work in my Lent Series is something a little different from the norm. Dave Price uses an array of game calls and bird whistles in conjunction with a piccolo to create his taut, playful and at times downright hilarious three-minute Twitcher.

Those of a prog rock disposition may find Pink Floyd’s Several Species of Small Furry Animals coming to mind during the work’s long opening section, cycling rhythmic ideas hocketed left and right with all manner of unexpected punctuations, embellishments and hiatuses. After about 80 seconds, everything gets significantly cranked up: the metre becomes shorter and seemingly quicker and there’s less overall sense of rhythmic control, finally leading to a prolonged eruption of wild wails, squeals and ratchet bursts. Price lets out all the pent-up tension with a violent bang, whereupon the piece discovers an altogether new kind of order, the piccolo articulating a Latin-like melody, the music no longer twitching but swaying and dancing to a close. Read more

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Harrison Birtwistle – Double Hocket

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Brevity may well be the soul of wit, but the challenges it raises from the perspective of the listener can be considerable. Everything becomes ultra-compact: no sooner has an idea been presented then we’re on to another – or, more usually in this context, a different facet of the existing one – with little or no time to join the dots and reflect. Regardless of the music’s actual momentum, it can sound like a sprint, the work’s double barline already in view as the piece begins, and we can feel forced to race to keep up. That’s particularly true, i think, of the next work in my Lent Series focusing on miniatures, Harrison Birtwistle’s Double Hocket for piano trio, composed ten years ago in 2007. One can only imagine that hearing this in a concert – or, more specifically, hearing it just once (not that there’s any excuse for that, considering its length) – might well prove somewhat unrewarding, an aural equivalent of being vigorously prodded with knitting needles for two minutes. However, there’s an interesting little drama taking place within the Double Hocket, though if you’re not careful it might take your eye out.  Read more

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HCMF 2016: ELISION

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Yesterday at HCMF was really only about one event: the concert given by Australia’s ELISION ensemble, who are this year celebrating their 30th anniversary. ELISION’s relationship with the festival is long-established—their first appearance coincided with my own first ever visit to the festival, almost exactly twenty years ago, to hear them give the UK première of Richard Barrett’s negatives—and is usually associated with performances of larger-scale works: on this occasion the first UK performances of Aaron Cassidy‘s The wreck of former boundaries (in its complete ensemble version) and Liza Lim‘s How Forests Think. Both of them required a bit of mental adjustment to engage properly with their respective approaches.

In Lim’s case, the adjustment was due to the fact that How Forests Think is in many respects strikingly different from a lot of her previous work. Above all, there’s a pervasive multifaceted looseness—heard in the way musical materials inherently behave, in the interactions between players and in the structure of the work’s four movements—that sets it apart from the intense rigour that has hitherto been a quintessential aspect of Lim’s compositional character, and which came as something of a shock. However, what remains immediately familiar is the work’s instrumental nature; Lim’s music often displays a tendency to opulence and here she uses an ensemble clearly designed to sound lush, including the wonderful Chinese sheng performed by Wu Wei, who has brought the instrument to such prominence in contemporary music in recent years. There was a recurring question concerning to what extent the sheng was able to blend with the rest of the ensemble, but in all important respects it hardly mattered as it lent the piece a certain ‘concerto’ quality at various points, and in any case Lim’s writing for the sheng is the most interesting i’ve yet encountered (she should definitely write a solo work for the instrument). There are loci of continuity to be found through the work’s four movements, particularly in the way that the music’s harmonic palette regularly moves toward greater degrees of consonance (of a somewhat complex colouration), as well as a persistent focus on counterpoint in passages that simultaneously sound like a group action as well as the combined result of a collection of self-contained individuals, a nice aural paradox. Read more

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Michael Finnissy – “above earth’s shadow…”

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It’s abundantly clear in the works explored so far in this Lent Series that Michael Finnissy has a keen interest in melody. The ways in which he presents, transforms and contextualises melody are often startlingly simple, but in the case of “above earth’s shadow…”, for solo violin and ensemble, it’s handled in a more complex way. Composed in 1985, the piece takes its title from William Blake’s The Marriage of Heaven and Hell, specifically a passage from one of the work’s later ‘Memorable Fancies’ in which a visionary encounter with an angel takes place. It’s not without a certain degree of extreme surreal imagery, even by Blake’s standards (including vast spiders revolving on fiery tracks around a “black but shining” sun within an “infinite abyss”; you get the idea); the encounter is somewhat confrontational, culminating in the narrator grabbing the angel:

I by force suddenly caught him in my arms, & flew westerly thro’ the night, till we were elevated above the earth’s shadow; then I flung myself with him directly into the body of the sun;

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Michael Finnissy – Dust (World Première)

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Perhaps the key recurring characteristic of Michael Finnissy‘s music is an engagement with existing musical ideas, embracing (and that’s exactly the right word) folk and popular idioms. This engagement is nothing less than an audible wrangling with it from root to tip, as though Finnissy were handling it like plasticine, moulding it into new shapes while considering its constituent elements, in ways that are both analytic and playful. And, indeed, unpredictable, as is the case with his short work Dust, composed in 2008. Read more

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HCMF 2014 revisited: Jan Erik Mikalsen – Too much of a good thing is wonderful (UK Première)

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One of the strongest impressions that Norwegian composer Jan Erik Mikalsen‘s Too much of a good thing is wonderful made on me last year was grandiosity, emanating from allusions to Liberace, of whom the piece is something of an affectionate (if somewhat wry) homage. Returning to the piece since, that impression has become more nuanced and amorphous, in its own way undergoing precisely the same kind of absorption into the work’s depths as Liberace’s own material does. Mikalsen sets up a mise-en-scène that sounds wholly aquatic, initially positioned at a vantage point, coolly observing surges like small tumbling waves at the shore. The qualities exhibited here, though, persist throughout, a distant kind of hesitance, pitches defracted through a quarter-tonal prism. Read more

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HCMF 2014 revisited: Luis Codera Puzo – π

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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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