HCMF2019

HCMF 2019 (Part 2)

Posted on by 5:4 in Festivals, Premières | Leave a comment

It’s many, many years since i spent meaningful time in the company of music by Can, so i went to founder member Irmin Schmidt‘s HCMF piano recital last Thursday with precisely no expectations. What transpired was one of the most mesmerising, understated performances that i’ve ever witnessed in St Paul’s Hall. Though Schmidt was performing three works – derived in part from his album 5 Klavierstücke, released last year – they essentially coalesced such that they became three facets of a single train of thought. The innards of the instrument had been intricately prepared with an assortment of screws, rawlplugs and other gizmos, but this was a whole lot more than just a standard prepared piano. In the way Schmidt played, there was no qualitative difference between the prepared and natural notes – they all sounded as though they were an essential, intrinsic part of the piano’s tone of voice, so to speak, articulated with different kinds of timbre and pitch focus. Read more

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HCMF 2019 (Part 1)

Posted on by 5:4 in Festivals, Premières | 2 Comments

Last week i was able to catch a couple of days of the shenanigans going on at this year’s Huddersfield Contemporary Music Festival. It was strange not to be doing my usual thing of setting up camp for the whole shebang, but quite apart from it being better than nothing, experiencing a festival in microcosm like this is somewhat revealing. More than perhaps most music festivals, going to HCMF involves becoming a prospector, panning for gold in its welter of content. Personally, i’ve tended to find the nuggets of gold to be relatively few and far between, but when you find them it’s usually a pretty overwhelming experience, easily among the most memorable i’ve ever had. This proved to be the case again this year: some was worthless, some looked like gold but on closer inspection was just superficially shiny – and every now and then the festival really hit the jackpot.

Apropos: Termite Territory, by composer-in-residence Hanna Hartman, receiving its first UK performance on Thursday afternoon by Swiss ensemble We Spoke. It looked at first glance to be a not particularly promising mucking around with close-miced bits of corrugated cardboard. However, its highly episodic structure – each episode involving a different approach to the way the cardboard was wielded by the five players – turned out to be deeply engrossing. Read more

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