HCMF2016

HCMF revisited: Marcin Stańczyk – some drops… (UK Première)

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Some make their journeys alone.
Others get together, as couples or in small gatherings.
They connect and they divide. This may seem unpredictable.
But you can guess which paths they will take.
In the end, most of them follow their forebears.
It’s gravity, apparently.

While some composers persist in providing lengthy diegetical tracts to explain their compositions, at HCMF 2016 Polish composer Marcin Stańczyk provided the above text to accompany the first UK performance of his piece some drops… for double-bell trumpet and ensemble. As i’ve got to know the work better since that first encounter, these words have made more and more sense. Stańczyk initially places the solo trumpet at the back of the space, behind the audience (“Some make their journeys alone”). But as the work progresses, the soloist slowly walks forward, eventually joining up with the rest of the ensemble, which is itself continually reforming into different groups (“Others get together, as couples or in small gatherings./They connect and they divide”).

The lines that then suggest that the apparent unpredictability can be guessed are, i think, more subtle than simply suggesting that we as listeners can work out what’s going to happen and when. That certainly isn’t the case, and to my mind this is more about the nature of the material being explored throughout the piece which, as i said in my original review, seems to be “teetering at the cusp of letting loose something warm and familiar”. This seemingly comes from nowhere, emerging in the wake of the work’s opening minutes where a strange pulse is set up, with sporadic single-note chirps from left and right. Is it sinister? vague? preparatory? Whatever it is, it’s at something of a distance until around three and a half minutes in, when the weird sense of a (neo-)romantic musical urge starts to exert itself, nothing more than a rising 3-note motif that might be the beginnings of a melody. Stańczyk ever-so-gently reinforces it with a pizzicato double bass, but it ends up becoming lost in the haze that characterises this portion of the piece.  Read more

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HCMF revisited: Michael Cutting – I AM A STRANGE LOOP V (World Première)

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In just five days’ time, this year’s Huddersfield Contemporary Music Festival gets going. That’s a big deal anyway, but this is its 40th edition, so there’s even more cause than usual for celebration. As a warm-up, i’m going to spend this week revisiting a few of the more memorable pieces from the last few festivals. The recitals given by pianist Richard Uttley have been for me some of the most exciting HCMF concerts in recent years, always presenting a thoroughly unpredictable collection of works embracing both the lyrical and experimental aspects of the instrument (and of Uttley himself). At HCMF 2016, he gave the first performance of Michael Cutting‘s I AM A STRANGE LOOP V.

It’s the second piece Cutting has written for Uttley that involves the use of a Fender Rhodes piano. The first, This is Not a Faux Wood Keyboard (premièred by Uttley at HCMF 2015), captured and harnessed the piano’s actions through use of a loop pedal. For I AM A STRANGE LOOP V, this premise has been expanded by utilising a pair of reel-to-reel tape machines. In each of the work’s four movements, Uttley is required to record portions of his performance, which are then played back while additional material is played. In practice, the two tape machines become second and third instruments in their own right, leading to interesting and unpredictable passages of 2- and 3-part semi-recycled counterpoint. Read more

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HCMF 2016: afterthoughts and reflections

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I intended this to be part of yesterday’s final report, but as I’m still grappling with a virus at present I decided to tackle it separately. Looking back on HCMF 2016, it’s been another thoroughly enjoyable festival, not that I suspected it would be otherwise. The choice of Georg Friedrich Haas was a good one, in my view, perhaps even an unexpectedly beneficial one considering the world’s ongoing pained reaction to recent political outcomes. Haas proved himself not only a charismatic composer with an ear for fascinating sonorities and a keen sense of how to deploy theatricality, but also a deeply sensitive individual whose poignant ‘Meet the Composer’ conversation on Saturday morning will remain for many people, I’m sure, an important, cherished memory. It’s simplistic and trivial to dismiss his work, as one or two commentators have, as mere hype and hullabaloo; the reasons why he does what he does come from a place of utter humanity. It’s all the more frustrating then, as I mentioned a couple of days ago, that despite being ‘Composer in Residence’, Haas’ music was only showcased during the opening weekend, after which he quickly felt entirely peripheral; surprisingly different from how the featured composers have been represented at HCMF in recent years.

Beyond this, a year ago I noted in passing that the representation of women composers at the festival was poor, responsible for only 16% of pieces performed throughout the festival. This year the figure has improved somewhat: looking at both the number of pieces as well as the durations of those pieces, the result was 25% of the music at HCMF 2016 composed by women. A step in the right direction, to be sure, but it’s still somewhat sobering to note that at no fewer than 65% of the concerts women composers were entirely absent (male composers were absent from 13%). It’s not all about the numbers, of course, but these numbers are hardly irrelevant.

Back to the actual sounds, and the way non- or semi-improvised music continued to feature prominently at the festival was fruitful and thought-provoking. I’m still somewhat agog at the concert given by John Butcher with Trio Kimmig-Studer-Zimmerlin, entirely improvised but which could have been presented as a sequence of fully-composed pieces and I would have believed it. All of which only made the experience more fascinatingly discombobulating when, the following day, at The Stone Orchestra‘s gig (which included the trio) the improvisations now sounded loose, disconnected, arbitrary and ultimately implausible. With improvisation, it seems, you really never can tell. Following last year’s push in the direction of Wandelweiser, it was nice that that wasn’t entirely forgotten this year, and Marianne Schuppe‘s recital was a hugely refreshing and welcome contrast to—well, to almost everything else that had been going on.

Overall, while it’s not necessarily HCMF’s primary purpose to act either as a barometer of contemporary music-making or as a testament to its most radical exponents, I think this year’s festival hit a very high standard in both respects. All of us involved in new music trot out the word ‘experimental’ so often it tends to lose all meaning; at HCMF, we get a rare chance to witness genuine musical experimentation going on every day. Experiments don’t have guaranteed outcomes, they’re not safe and secure, and they certainly won’t always succeed. Yet regardless of how they transpire, I for one get an immense thrill at the opportunity to be able to witness it happening and reflect on the aftermath. Conservatism may rule this land ever more aggressively, but in Huddersfield, almost anything remains possible.

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HCMF 2016: Mark Knoop + Juliet Fraser

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My final concert at HCMF 2016 was in St Paul’s Hall in the company of pianist Mark Knoop and soprano Juliet Fraser, who presented the UK premières of two song cycles, Michael Finnissy‘s Andersen-Leiderkreis and Bernhard Lang‘s The Cold Trip, part 2. Despite the fact that some of the Finnissy was not in English, it was unfortunate that we were not given the texts for either piece, as it was often unclear precisely what was being sung (more to do with St Paul’s Hall than with Juliet Fraser), a real shame considering the fact that these were both substantial vocal works. Regardless of this, though, The Cold Trip, part 2 made its intentions really very clear within the first few minutes: using Schubert’s Winterreise as its inspiration (in this case, being ‘part 2’, focusing on the latter half of that cycle), Lang’s text comprises cut-up minute quotations, allusions and references to the Schubert in conjunction with a live piano part and piano samples executed by a laptop. This, Lang contends, creates a ‘meta-composition’ in which the sampled elements establish a palimpsest of the Schubert. It really and truly does not. Read more

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HCMF 2016: Richard Uttley, Quatuor Diotima

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Having packed out Phipps Hall at HCMF last year, pianist Richard Uttley‘s Saturday morning recital found him in the considerably more fitting space of St Paul’s Hall. Taking place on a stunningly cold day—local temperatures hovering around -1°C—the audience was healthy in size but not in general well-being, peppering the concert with (in one case, worrying close proximity) blasts of coughage. Quite apart from anything else, Uttley deserves considerable kudos for the way he tenaciously maintained concentration. Similar to Seth Parker Woods’ recital the previous day, Uttley performed four works, two of which involved technology. Read more

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HCMF 2016: Seth Parker Woods, Ensemble Resonanz + Elliott Sharp + Gareth Davis

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Friday at HCMF began with a recital by rising star cellist Seth Parker Woods. I’ve had the opportunity to see Woods play once before (at HCMF 2014) and the experience was a highly impressive one, so I was very much looking forward to seeing him in action again. He did not disappoint, performing four challenging works, two of which involved live electronics. The acoustic pieces occupied soundworlds of an intimate, ephemeral nature. Alvin Singleton‘s Argoru II was sufficiently gestural that it took on a pervasive arbitrariness that frustrated engagement on anything but the most superficial level. Gray Neon Life by Edward Hamel was similar but explored much more interesting alternations between gesture and pitch with occasional fragments of a barely audible spoken text. Nonetheless it, too, conveyed an aloofness that made its transient filigree feel somewhat skin-deep. Despite these compositional concerns, Wood’s performance of both pieces was seriously involving, exploiting the intimacy to give the impression he was playing to every member of the audience personally, and even at times as though he were playing entirely to himself. George LewisNot Alone utilised electronics to echo, distort, resonate, flitter and skitter around and follow hot on the heels of the cello’s material. Structured as a clear sequence of contrasting episodes, there was a delirious playfulness in Lewis’ conveyor belt of wildly diverse musical offerings. As with all but the very best works in the bloated performer-does-something-and-computer-responds genre, there were times when the hierarchical relationship felt simplistic, obvious and even a trifle tired, but this was a minor shortcoming in an otherwise thoroughly enjoyable and convincing piece. Read more

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HCMF 2016: Marianne Schuppe

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Twenty-four hours after Aaron Cassidy’s attempt at recreating the Battle of Jericho, St Paul’s Hall was today filled with its polar opposite: Marianne Schuppe performing her 40-minute cycle slow songs. Her approach in each of the eleven songs is to focus almost entirely on a simple, idiosyncratic melodic line, the vehicle for Schuppe’s equally quirky texts, usually in conjunction with one or more pure, floating pitches that permeate and punctuate the melodies. If one didn’t know better, these pitches would appear to be coming from a sine tone generator but are in fact created using a lute and two of what Schuppe calls ‘uber-bows’, large sturdy makeshift versions of ebows positioned over the lute’s strings and controlled with voltmeters. To look at, it’s all very crude (Schuppe told me that it’s a ‘prototype’) but what it produces is clear and pristine, the perfect complement to her unwavering voice. It’s not insignificant that she has chosen to produce these pitches via a lute, as slow songs essentially has its roots in folk music; one could think of it as an austere, stripped down version of the rich folk luxury of Fovea Hex (and, as i mentioned when reviewing the CD of this piece, Schuppe’s voice bears a striking resemblance to Clodagh Simonds‘). Read more

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