Huddersfield

Gigs, gigs, gigs

Posted on by 5:4 in Concerts, HCMF | 2 Comments

It’s November, and i’ll initially skip over the elephant in the month to flag up a very interesting concert series going on in Manchester. Curated by undergrad composer Jack Sheen, it goes by the Excel spreadsheet-friendly title ddmmyy, seeking to make each event literally that, an event, conceived and customised in sympathy with the music contained therein. The next concert in the series is in a little over a week’s time, on Sunday 16 November in the RNCM’s Carole Nash Recital Room, and it promises an interesting selection: a new work from Laurence Tompkins, Larry Goves’ A glimpse of the sea in a fold of the hills and Laurence Crane’s Octet. As all good new music concerts should, there’s a pre-concert talk at 6pm before the kick-off at 7.30pm. Future concerts in February and April next year will be including works by Bryn Harrison, Michael Finnissy and Berio alongside music by RNCM-associated composers. Ambitious and also rather stylish in presentation, it’s clearly a concert series well worth checking out; the flyer with info about all their forthcoming concerts can be seen/downloaded here.

And now, of course, to the pachyderm: in two weeks’ time, this year’s Huddersfield Contemporary Music Festival will be springing into action for another round of the unexpected, the challenging and the downright discombobulating. i’ll be there for the full ten days this year, and will be reporting back on as much as my mind and ears can cope with. It’s almost nonsensical to single out highlights in a festival where every event is a highlight in itself, but the choice of James Dillon as this year’s Composer in Residence is hugely mouth-watering; both of the festival’s weekends feature his work heavily, the former with the London Sinfonietta and BBC Singers premièring a new large-scale work, Stabat Mater dolorosa, the latter with the BBC Scottish Symphony Orchestra taking on another new work, Physis I & II and an existing piece, Andromeda, before pitting the Arditti Quartet against all seven—that’s all seven—of Dillon’s string quartets. i know, right? i’ll also be particularly looking forward to premières from, among others, Liza Lim, Simon Steen-Andersen (whose Black Box Music remains one of the most astonishing things i’ve seen/heard at HCMF in recent years), Christopher Fox, Naomi Pinnock and Monty Adkins; Adkins will also be presenting his beautiful electronic work Rift Patterns (my review of which is here). One of contemporary music’s most alluringly dark clarinettists, Gareth Davis, will be playing a major new work from Elliott Sharp called Sylva Sylvarum; his wonderful rendition of Sharp’s Foliage at Bristol New Music earlier this year makes this an unmissable performance. Apartment House will be performing Brian Eno, Arne Deforce and Pan Sonic’s Mika Vainio will be performing a live version of their interesting recent album Hephaestus, Ryoko Akama will be giving the world première of a new work by the great Eliane Radigue, and nyMusikk Bergen will be tackling Sciarrino’s frankly bizarre opera (of sorts) Lohengrin on the festival’s opening night. But i’m also especially looking forward to music by composers entirely new to me, including Anna Thorvaldsdottir, Joan Arnau Pàmies, Øyvind Torvund, Bjørn Fongaard and Ferran Fages. Unsurprisingly, some of the concerts are by now sold out, but many are still available – full information and bookings here. i trust it won’t leave me wordless, but i fully expect to be left speechless.

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The Rest Isn’t Noise

Posted on by 5:4 in Academia | 4 Comments

“We like to give you the maximum, from which you can subtract.” Aaron Einbond’s closing words before the first concert at the Noise In And As Music conference, organised by Einbond and Aaron Cassidy, which took place at Huddersfield University’s Centre for Research in New Music (CeReNeM) last weekend. Einbond’s amusing reference to volume (and the audience’s option for ear-plugs) crystallised the essence of the conference’s focus and the host of assumptions one tends to make about it. What, after all, is noise? Does it—should it—connote material that is extremely loud? extremely dense? extremely extreme? The conference’s three days of papers, discussions, installations and concerts went no small way to addressing these fundamental questions.

The range of opinions, methodologies and implementations of what may or may not be ‘noise’ was almost bewilderingly broad and multi-faceted. In keeping with each and every conceit of genre, noise too has its share of charlatans, wannabes and hangers-on, and the weekend occasionally dipped its toe into examples of thought and sound that seemed either to miss the point or just sap all the interest out of it. But such moments were happily rare; not only were the majority of contributions fascinating and very thought-provoking, the best were stunning examples of what noise can be and can do, examples that changed, expanded and even redefined one’s understanding not only of what we were hearing, but of hearing itself; repeatedly and equally, both sound and sensation found themselves under the microscope. Read more

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