Gérard Grisey

HCMF 2016: Shorts

Posted on by 5:4 in Concerts, HCMF, Premières | 3 Comments

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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Proms 2016: Georg Friedrich Haas – Open Spaces II, Gérard Grisey – Dérives (UK Premières), Mica Levi – Signal Before War & David Sawer – April \ March (World Premières)

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Finally. Five weeks into this year’s season, the Proms at last finds its way, Red Riding Hood-like, away from the safe, well-trodden path into the unfamiliar terrain of the avant-garde. Twice, in fact; first thanks to the London Sinfonietta, whose afternoon concert at Camden’s Roundhouse last Saturday (there’s presumably a clause somewhere prohibiting anything too radical from being performed within the Royal Albert Hall), conducted by Andrew Gourlay, presented new works by Georg Friedrich Haas, Mica Levi and David Sawer alongside, among other things, Ligeti’s great classic Ramifications. And later that evening, Ilan Volkov and the BBC Symphony Orchestra brought Gérard Grisey’s Dérives to these shores. Quite a day! Read more

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Gérard Grisey – Mégalithes (UK Première)

Posted on by 5:4 in Premières | 1 Comment

In the last few years i’ve written about a number of pieces that languished ignored and unplayed for decades, and earlier this year another such work received its first UK performance, which was also—as far as anyone can tell—only the second time it had been heard. That fact is somewhat surprising considering that the work in question was Mégalithes, by the renowned French composer Gérard Grisey, whose work has long enjoyed an enthusiastic following throughout Europe, in part due to his innovative approach to sound, which became known as spectral music. Mégalithes predates those developments, however, composed in 1969 when Grisey was just 23 years old. The combination of that striking title and its scoring for 15 brass instruments (4 trumpets, 4 trombones, 6 horns and tuba, distributed around the performance space) suggests not so much a composition as a granite-hewn edifice. Yet Grisey’s motivation was neither hard nor impersonal; described as an “oeuvre composée à la mémoire des victimes du Biafra”, Mégalithes commemorates the million-plus innocent victims massacred in the Nigerian Civil War, which took place through the last three years of the 1960s.
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