György Ligeti

Blasts from the Past: György Ligeti – Poème symphonique

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A couple of days ago marked the eighth anniversary of the death of Hungarian composer György Ligeti. To mark the event, and also begin a new occasional series on 5:4, i’d like to take a brief look back at one of the more enigmatic works of Ligeti’s career. Poème symphonique was composed in 1962, and is as much a piece of performance art as a musical composition. The performance specification is relatively straightforward: 100 mechanical metronomes are required, operated by 10 players, each metronome fully wound and set to its own tempo; all 100 are then released and allowed to tick freely until their mechanisms wind down. and that’s it, except your problems begin immediately, procuring and assembling 100 metronomes at one time and place being the most obvious. Not entirely surprisingly, the first performance triggered a fair amount of controversy, being as it was part of an official reception at the closing event of the 1963 Gaudeamus Courses and Concerts of New Music, in Hilversum, the Netherlands, an event involving local dignitaries and which was to be televised the following day. During the performance, protests broke out, and the broadcast never took place. Read more

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HCMF 2013: Quatuor Diotima

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

This morning saw Brian Ferneyhough back at St Paul’s Hall, his music this time being performed by the outstanding Quatuor Diotima, alongside works by Gérard Pesson, Miroslav Smka & György Ligeti.

Ligeti’s 1968 String Quartet No. 2 came last in the concert, but i mention it first because—as Ligeti’s music always tends to do—it forced a complete reappraisal of the three pieces heard before it. One very basic issue it highlighted was of the current predilection for larger-scale forms—or, conversely, composers’ (perhaps passive) reluctance to articulate works through relatively short movements. Sections & episodes don’t count in this respect; they’re an entirely different kind of demarcation & don’t induce the same sort of ‘soft reset’ brought about by the separation of movements. Let me just clarify that i don’t think one approach is better than the other; it’s just interesting to reflect that—with the obvious exception of James Dillon’s New York Triptych—everything i’ve heard both in this concert & the entire previous day consisted of substantial single spans.

Returning to Diotima, they began with the first UK performance of Pesson’s Farrago. Pesson’s lengthy programme note makes the piece sound more complicated than it actually is. Structurally, Farrago is very formalised, episodic & highly rhythmic. Its rhythmic language is the work’s driving force in more than just the obvious way; the material’s underlying regularity goes a long way to reinforcing its dual tone of ephemerality & ethereality. Much of the music is very quiet, & almost all of it is extremely delicate, like suspended pieces of glass turning in the wind, sunlight glinting off their edges. That suggests cool placidity, but it’s not without an order of violence too, although the instruments’ fiercely sharp gestures are checked by soft dynamics & muting articulations (sul tasto; beyond the bridge) that render them more visually than sonically startling, like being flagellated with feathers. Farrago feels long, but the extent of its fantasy is such that it remains an engrossing listen.

Miroslav Smka’s Engrams, also receiving its UK première, didn’t prove anywhere near so convincing. Like Pesson, Smka opted for very quiet dynamics, but his highly gestural material, somewhat inventive but not greatly differentiated, became increasingly frustrating. The glistening surface offered little by way of purchase; ideas were passed around, imitated, collaborated upon, but there was an abiding sense of arbitrariness that wasn’t helped by the lack of anything concrete. At nearly half an hour it was also seriously overlong; being teased & tickled like this quickly becomes annoying.

The oboe’s master of masters Christopher Redgate joined Diotima for the world première of Ferneyhough’s Schatten aus Wasser und Stein (“shadows made of water & stone”—the composer’s preferred translation), turning the group into a very convincing quintet, so well did he match the strings in terms of timbre & register. Both the work itself & wider compositional concerns had been broached in the pre-concert talk, & one detected an implied (Ferneyhough didn’t directly confirm this) ongoing interest in things ephemeral: the blast-wake of destructive energies (in earlier work), the instantaneous sparks of yesterday’s Liber Scintillarum, & now shadows—which Ferneyhough characterised as being both diffuse & sharp-edged. This perhaps goes some way to account for the intensely mercurial nature of Ferneyhough’s music, ever shifting between layers of focus & concomitant material implication. In Redgate & Diotima’s performance, there was an interesting tension between effort—the music is clearly as technically challenging as ever—& relaxation, communicated strongly by the players’ shifting body language. The former of those has been discussed ad nauseam over the years; regarding the latter, the performance was a powerful reminder of how recordings of Ferneyhough’s music never seem adequately to capture the wit so often evident in his material, the exuberance & potency of the instrumental interactions, & the latent lyricism i spoke of yesterday, glimpsed rather than indulged, but rarely absent. This last aspect seems particularly important in Schatten aus Wasser und Stein, melody constantly breaking out, often at some length. In this world première, despite the players still coming to terms with the piece, one glimpsed the beginnings of a very telling addition to Ferneyhough’s output.

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Mix Tape #18 : Hallowe’en

Posted on by 5:4 in Mix Tapes | 3 Comments

Caught up as i am this Hallowe’en weekend in a flurry of horror movies, it seemed only right to make the new 5:4 Mix Tape suitable for the occasion. For this Hallowe’en mix, i’ve trawled my library for music that’s particularly unsettling—so don’t expect to hear ‘The Monster Mash’ or anything like that.

Not surprisingly, a number of soundtracks are featured, of very different styles and manners. The opening of Johan Söderqvist‘s score for Let the Right One In is a masterpiece of foreboding tension; Joe LoDuca explores rapid-fire percussive sounds in this nervy section of his music for the classic The Evil Dead (and the image on the artwork is a beautiful still taken from the equally beautiful blu-ray transfer of Sam Raimi’s brilliant Evil Dead II). Christopher Young draws on evocative metallic clangs and the ominous tinkles of a music box for his Hellraiser soundtrack, going to the opposite extreme for its sequel, Hellbound, the overture of which aspires to the operatic. Angelo Badalamenti—featured twice—establishes an almost immobile, horribly enclosed mood in his music for season 2 of Twin Peaks and, even more so, Mulholland Drive. The extreme, though, is Lars von Trier and Kristian Eidnes‘ soundtrack to Antichrist, one of the most unconventional ever created, and certainly one of the best. Jerry Goldsmith‘s score for Basic Instinct functions like a vast orchestral suite, often eschewing dramatics for music that slowly builds with masterly restraint; Thomas Bangalter—in a break from being one half of Daft Punk—accompanied one of the most horrific scenes of film violence with this ludicrously effective and queasy bit of sound; and David Lynch‘s own music for his exhibition The Air is on Fire is an impossibly deep and dark ambient cycle, occasionally—as here—introducing elements of hauntology. Read more

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Mix Tape #6 : Piano

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For years, the piano has been to me an object of fascination and awe; its range of capabilities, expressive potential and timbral variety are breathtaking. Also for years, these qualities were the very things preventing me from attempting to compose something for it. Listening to piano music is a supreme joy, and so this new Mix Tape is a concoction of some of the more interesting examples that have been occupying my ears of late. It also represents some of my favourite composers, all of them bringing something unique to the instrument. Read more

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