Francesca Verunelli

HCMF 2018: Divertimento Ensemble, Stockhausen: Oktophonie

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When writing about United Instruments of Lucilin’s concert last Tuesday i noted how the only thing the four works they played had in common was their complete dissimilarity to each other. Yesterday evening, in St Paul’s Hall, we experienced the opposite: four pieces of Italian music performed by Divertimento Ensemble that, while obviously unique in most important respects, seemed very much to inhabit similar environments, or perhaps even disparate regions of the same soundworld.

A great deal of the material in the concert could be characterised as either timorous or, at the very least, hesitant. In Francesco Filidei‘s Finito ogni gesto, a work commemorating author Edoardo Sanguineti, it was merely a starting point. Soft clicks, breathy pitches, distant resonances, rumbles from somewhere beneath (or beyond) – all of this was enticing enough, but then Filidei introduced something really marvellous: a cello in the guise of a musical saw, articulated (by Martina Rudic) as a terminally unstable melodic entity. It was one of the most lovely openings of anything i’ve heard all week. It was just a starting point, though, a melancholic overture to what became much more aggressive. Filidei set up large, forceful rolling waves of tumult, a sequence of climaxes crowned by popping balloons and a wild growling horn solo. An intense manifestation of grief, perhaps, one that became achingly poignant in the work’s closing moments, reduced to quietude and whistles, solemn drum thuds, and the accented turning of pages. Read more

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HCMF 2013: Shorts

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There’s a curious phenomenon that seems to strike people the longer they spend at HCMF: a cross between regret and guilt at the events they’re not attending. i periodically suffer from it myself, and never more so than on their annual ‘Shorts’ day, which took place yesterday. Fifteen small- and mid-scale concerts, containing 38 pieces, in total lasting around 13 hours—it would take a certain kind of person to go to everything, and i have to confess i’m not that kind, so i experienced what we might call “the HCMF qualm”, my conscience nagging me at the music i didn’t hear and which may well have turned out to be brilliant.

However, i did get to nine concerts, and a thoroughly mixed bag they were. The first thing to say is that it’s an incredible treat to be able to hear such a diverse selection of music as this, and the performance standard throughout the day ranged from highly competent to downright dazzling. The compositional standard was rather more variable, and almost every concert had its share of flops (the worst that i experienced being Jonathan Cole’s butt-clenchingly tedious saxophone quartet Menhir, which the otherwise talented Fukio Ensemble could do nothing to save). There were plenty of moments of magic, however: the wonderfully delicious conclusion to Kerry Andrew‘s anthem O lux beata Trinitas, the disorienting division between fragrance and grind in Rose Dodd‘s electroacoustic Aandacht, some sensitively-judged interaction between organ and electronics in Huw Morgan‘s The Unseeing Eye at the Lung’s Heart and a fascinating sonic network of relationships between clarinet and string trio in Dai Fujikura‘s Halcyon. Read more

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