HCMF2015

HCMF 2015 revisited: Naomi Pinnock – Lines and Spaces (World Première)

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There are just four days to go until the start of this year’s Huddersfield Contemporary Music Festival, and UK audiences get the chance–denied them at most other festivals on these shores—to experience some of today’s most experimental, radical and open-minded music-making. All being well i’ll be there for the duration once again, but in the meantime, as something of an appetite-whetter, i want to revisit something from last year’s festival.

Partly but not entirely due to the presence of Jürg Frey as composer-in-residence, HCMF 2015 was characterised by a distinct thread of simplicity and restraint, obtaining the maximum effect, power and overall use from relatively spare and at first glance potentially unpromising material. Of course, in such contexts as these words like ‘simplicity’ and ‘restraint’ become themselves redefined, to the point that a pianissimo note from Jacob Ullmann becomes shockingly outré, or a change of chord from Chiyoko Szlavnics feels as though the whole world has either been tilted on its side or stopped spinning on its axis.

Lines and Spaces by UK composer Naomi Pinnock occupies a not dissimilar place of compositional thought. Drawing on the minimal abstract art of Agnes Martin for inspiration, the piece, for solo piano, is made up of six short movements, the even-numbered of which correspond to the lines of the title. Simplicity of the kind i mentioned above reigns here, each ‘line’ located around an extended, repeated middle C (the relative speed of the repetition decreases across the three movements). The first is coloured by a single C an octave lower, the second by a D and B immediately above/below, followed by some pedal smudge. The third is struck with a glancing triadic blow that retains more than enough consonance to keep the ‘line’ stable until it too is smudged before fizzling out, its string muted. Read more

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Jürg Frey – Accurate Placement (World Première)

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A piece that’s been quietly beguiling me of late is Accurate Placement, by the Swiss composer Jürg Frey. A 16-minute work for solo double bass, it received its first performance last November, at one of the few HCMF concerts i didn’t get to. As my articles from that time will have made clear, my response to Frey’s work was, in hindsight, stimulatingly problematic and inconsistent, oscillating wildly between frustration and elation at its differing hues of diffident certitude. Accurate Placement falls somewhere right of centre on this continuum. Read more

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HCMF 2015: Eastern Waves, Arditti Quartet

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Saturday afternoon at HCMF brought ‘Eastern Waves’, a double-bill of experimental electronics courtesy of Tomek Mirt and Maja S K Ratkje, each re-working compositions from each other’s country. Mirt took Norwegian composer Arne Nordheim’s Solitaire as his basis, creating—via extensive knob-twiddling on a complex vertical stack of devices festooned with patch cables—a gentle, slowly- and freely-moving soundworld, its essentially ambient foundation occasionally placed on a soft beat grid or flecked with blunt metallic shards. While Mirt’s music unfolded as if along a clear, straight line, Maja Ratkje’s interpretation of various recordings by Polish composer Eugeniusz Rudnik—fittingly titled In Dialogue with Eugeniusz Rudnikwas decidedly non-linear. An audible descent took us into a dream-like place where sounds and ideas float, swirl, coalesce, swoop, soar and plummet. Bells, vocal sounds, electronic blurps and a thundersheet were transformed way beyond their origins, often coming out of nowhere yet instantly making perfect sense as they were woven in and around Rudnik’s materials. Read more

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HCMF 2015: Ensemble Grizzana, Philip Thomas

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Two concerts yesterday, on what had punningly come to be known as “Frey-day”, afforded the opportunity to spend considerably more time with the music of Jürg Frey. i’ve been wrangling with how the word ‘ascetic’ sits with respect to Frey’s music. It’s not, i believe, music wearing a hairshirt, but the more i’ve heard of it this week, the more i’ve felt as though i am—which in turn has to make one question seriously what is happening and to what end. This feeling was particularly acute at the midday concert of four of Frey’s compositions, given by Ensemble Grizzana—a new group comprising soloists Mira Benjamin, Richard Craig, Emma Richards, Philip Thomas and Anton Lukoszevieze along with Frey himself. Returning to my String Quartet No. 2 trekking metaphor—forever progressing at a consistent, unstoppable speed—their performance of Fragile Balance resembled a group of walkers taking it in turns to suggest where their communal next step should be taken, followed by everybody taking it. And so on. Guided by a score consisting of “lists of single sounds and little motifs”, aurally this was not a work where a sense of journey was important—after all, if a journey of a thousand miles begins with a single step, this particular journey would likely take a thousand years—but rather the act of travelling. Read more

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HCMF 2015: Erik Drescher, Jonty Harrison, Biliana Voutchkova

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In a refreshing break from the large number of groups and ensembles that have dominated HCMF so far, yesterday was given over to three individuals. The first was Berlin-based flautist Erik Drescher, in a recital of works, all receiving their UK premières, specifically composed for the glissando flute (fitted with a variable-length headjoint). It’s an alteration that immediately suggests obvious glissando possibilities, which formed the entire content of Alvin Lucier‘s Double Himalaya. Lucier provides a slowly undulating contour which the flautist plays against a recording of the same thing made previously, resulting in endless tiny clashes and beats. It didn’t take long for the effect to exhaust its interest; three or four minutes of this would have been okay, but 12 was just self-indulgent. Its one saving grace was the clarity of its motives; the same couldn’t be said for Michael Maierhof‘s splitting 51, which involved placing the headjoint such that it is both amplified and resonated/coloured by a plastic cup. What resulted was simply shapeless and arbitrary, uninteresting sounds emanating from a gimmicky environment. Il pomeriggio di un allarme al parcheggio by Salvatore Sciarrino was a risky endeavour, as though it had been created from different colours of smoke, which were then placed within a snowglobe and shaken vigorously. Read more

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HCMF 2015: Konus Quartett, Daniel Buess & Aleksander Gabryś, Ensemble CEPROMUSIC, Jakob Ullmann

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A feature of many of this year’s HCMF concerts has been a blurring of the distinction between pitch and noise, but the midday recital given by Swiss saxophone group Konus Quartett tilted the focus firmly back on pitch. Both works, Jürg Frey‘s Mémoire, horizon and Chiyoko SzlavnicsDuring a Lifetime (each being heard in the UK for the first time) sought to examine pitch as a constant, prevalent thing in its own right as well as an element with wider harmonic implications. Read more

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HCMF 2015: Shorts

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Being a Cotswolds lad, born and raised, i’d have to liken HCMF’s ‘Shorts’ day of free miniature concerts yesterday to a long walk over the hills, with spectacular vistas yet passing through numerous fields randomly distributed with large cowpats. In each field, you pick a direction and stick to it, with obvious consequences. In short, we all ended the day a little muckier than we’d started. Read more

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