James Dillon

HCMF 2018: Arditti Quartet + Jake Arditti

Posted on by 5:4 in Concerts, HCMF, Premières | 9 Comments

My 2018 HCMF experience came to an end yesterday in what is now the traditional way, at 1pm in St Paul’s Hall in the company of the Arditti Quartet. Four years ago, they tackled the first seven quartets by James Dillon; on this occasion their concert included the next two instalments, receiving their UK and world premières respectively.

i can remember well how the experience of hearing Dillon’s quartets 1 to 7 at HCMF 2014 (in chronological order) sounded like an exercise in diminishing returns. The earlier quartets were striking and impressive, but became gradually more impenetrable to the point that they simply felt weak and listless. Based on this first encounter with the Eighth and Ninth Quartets, that trajectory isn’t showing significant signs up an upturn. There was some interest to be found in the Eighth, Dillon dividing the Ardittis in two pairs that took it in turns to slither around each other, eventually unifying as a group whereupon their material began to halt and fragment. All of this had something nascent about it, beginning with a soupy miasma and arriving at building blocks, though this was the limit of the work’s scope, ending with the prospect of forming into a tangible idea, its closing moments vaguely cadential. In some respects the Ninth was similar – perhaps even a continuation of sorts – as if extant musical ideas were trying to emerge into its anonymous soundworld: there was the sense of a chord progression poised to break out, though to what extent this was real or just a manifestation of pareidolia is hard to say. Subsequently falling into patterns of simplicity and/or solemnity, broken up rapid passagework either en masse or individually, it was hard not to conclude that, as in much of Dillon’s last few quartets, this was a kind of ‘theoretical’ or even ‘scientific’ music, experimenting with materials, quantities, weights and distributions to see what happens. Considering how much emotional energy and passion is found in most of Dillon’s music, it was strange and disappointing to feel kept at such a distance in these pieces. Read more

Tags: , , , ,

HCMF 2018: Duo Gelland, Ensemble Mosaik

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

Yesterday’s late evening concert at HCMF, given by Ensemble Mosaik in Bates Mill, presented the first UK performance of Enno Poppe‘s Rundfunk. There are ways in which the piece is remarkable, and ways in which it isn’t. What certainly is remarkable – and the more i’ve thought about this the more remarkable it seems – is that it took Poppe three years to compose. With a duration of 60 minutes, composed for nine performers not so much playing their keyboards as triggering events from them, Poppe’s inspiration was to take the sounds from a collection of vintage synthesisers and use these as the basis – or, to use Poppe’s word, the “atoms” – for the piece. Importantly, Poppe hasn’t chosen to use the original instruments, instead harnessing their sounds with modern technology to obviate the limitations of their dated technology (such as monophony) and to open up possibilities with different tuning systems. The considerable length of time it took Poppe to compose the work was apparently due to the enormous range of options now available to him, having brought these sounds into the 21st century. Read more

Tags: , , , ,

HCMF 2017: Red Note Ensemble, Metal Machine Music, Aeolian

Posted on by 5:4 in Concerts, HCMF, Premières | 1 Comment

Here we go again (deep breath)…

The opening concert of the 40th edition of the Huddersfield Contemporary Music Festival immediately gave one pause for thought. What it wasn’t was a conventional wallop, a smack around the ears to wake us up out of our complacency, such as the one given by Jennifer Walshe and the Ardittis twelve months ago (from which i’m still not sure i’ve fully recovered). What it was though, at least in part, was a demonstration of the importance, potential and power of lyricism. If this sounds a bit slight in comparison, it isn’t, for in itself it’s another example of how open-minded HCMF has become under Graham McKenzie’s leadership. i have to confess that, prior to McKenzie taking over, my interest in HCMF had dwindled to nothing, due to how narrow and entirely predictable it had become. Somewhere along the way, the capacity for music to breathe and to provide scope for extended lyrical contemplation got essentially squeezed out. At last night’s opening concert in St Paul’s Hall given by Red Note Ensemble, there was almost a sense of defiance in the way one piece after another contributed to an atmosphere that, by its close, had become almost opulent. Read more

Tags: , , , , , , ,

HCMF revisited: James Dillon – Piano Concerto ‘Andromeda’

Posted on by 5:4 in HCMF | Leave a comment

Scottish composer James Dillon is a regular fixture at the Huddersfield Contemporary Music Festival, and the last few years have included several of his larger-scale works. Of these, the performance of his Piano Concerto ‘Andromeda’ at HCMF 2014 was one of the most striking, and has remained vividly in mind partly due to how difficult it seemed to parse, and as a consequence was a tricky piece to write about in my original review. The work isn’t performed often and no recording yet exists, so it’s one of a number of Dillon’s major works that remains in relative obscurity.

That’s unfortunate in any case, but particularly so because of the level of ambition Dillon brought to this piece. His long programme note describes the points of inspiration that led to the work’s subtitle, citing Greco-Roman mythology – Andromeda was the daughter of Celeus and Cassiopeia and personifies the dawn; like Prometheus, she was chained to a rock, eventually rescued by Perseus – and astronomy, referring both to the constellation (which was originally seen to represent Andromeda, and named ‘the chained woman’) as well as the galaxy – the nearest major galaxy to our own – that lies within it. Dillon also talks about the the legacy of the piano concerto idiom, describing the increasing emphasis on soloistic virtuosity that “remains one of its most attractive and repulsive features”, which perhaps explains why the pianist in his piece, save for a short opening cadenza, bears no resemblance to a conventional concerto soloist. Read more

Tags: , ,

St Peter’s Church, Drogheda: James Dillon – The Louth Work: Orphic Fragments (World Première)

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

It shames me to admit that, until February this year, i’d never heard of Louth Contemporary Music Society. On the one hand, it’s ridiculous that i hadn’t: for the last seven-or-so years they’ve been putting on fascinating concerts featuring music by, among many others, Terry Riley, György Kurtág, John Zorn, David Lang, Sofia Gubaidulina, Michael Pisaro, John Cage, Christian Wolff, Tan Dun, Alvin Lucier and Éliane Radigue, performed by the likes of Musicircus, Kronos Quartet, Carducci Quartet, Ian Pace, Trio Mediaeval, Garth Knox and the Hilliard Ensemble, as well as several of the aforementioned composers themselves. Not being aware of such fantastical goings-on seems entirely absurd. Yet on the other hand, not only is pretty much everyone i’ve spoken to about them in the last few months equally unaware of these concerts, i’ve not encountered any promotion or discussion about them in the usual new music places. Perhaps the shame lies elsewhere. Either way, it’s time to shout out loudly about what’s really going on on the east coast of Ireland, and it’s largely thanks to the tirelessly enthusiastic one-man-bandery of Eamonn Quinn, co-founder and curator of LCMS, whose efforts have at last been celebrated with his being awarded the 2018 Belmont Prize for Contemporary Music (Alex Ross won the prize in 2012), a belated but very richly deserved acknowledgement of Quinn’s exceptionally open-minded and energetic approach to concert curation. Read more

Tags: , , ,

Gigs, gigs, gigs: Spring 2017

Posted on by 5:4 in Announcements, Concerts | Leave a comment

There are lots of exciting events coming up in the next few months, approaching new music from a plethora of different angles.

Next month the Royal Opera House will be giving the first UK performances of Thomas AdèsThe Exterminating Angel, based on Luis Buñuel’s splendidly off-kilter movie. Premièred last summer in Salzburg, it’ll be receiving half a dozen performances at Covent Garden from late April to Early May. With a libretto by Tom Cairns, featuring the likes of (among many others) Anne Sofie von Otter, Christine Rice, Sophie Bevan, John Tomlinson and Thomas Allen, and directed by the composer, it should prove quite a spectacle. Well over a decade after witnessing the first performance of Adès’ last opera, The Tempest, i’m still somewhat in two minds about it, so it’ll be fascinating to see where he’s coming from in this new operatic work.

The Another Timbre label is taking over Café Oto for three days at the start of May, with a series of concerts to tie-in with their new five-disc set of music by Canadian Composers (a review of these is coming soon). Works by Linda Catlin Smith, Isaiah Ceccarelli, Marc Sabat, Martin Arnold and Chiyoko Szlavnics will all be featured in these concerts, plus a couple of pieces by fellow Canadian Cassandra Miller and not-remotely-Canadian Jürg Frey. Tickets are £8 a pop or £21 for the lot.

Looking ahead to July, the details of this year’s Cheltenham Music Festival have been announced this week. The festival’s engagement with contemporary music – which, let’s remember, was its original purpose – has become highly tenuous in recent years, but there’s one or two concerts to look forward to. At the safer end of the spectrum, Estonia’s E STuudio Chamber Choir will be showing there’s more to their country than just Arvo Pärt, also featuring music by Estonians Cyrillus Kreek and Veljo Tormis. As someone who’s spent a fair bit of time with Estonian music during the last year, this is going to be good (though, fair warning, you’ll also need to contend with some Whitacre). Pianist William Howard is performing a recital titled ‘Love Songs’, including works by Cheryl Frances-Hoad, Piers Hellawell, Howard Skempton, Joby Talbot, Judith Weir and Michael Zev Gordon, a number of them receiving first performances. Joby Talbot’s music is also being performed by vocal ensemble Tenebrae, presenting his hour-long Path of Miracles. And towards the end of the festival, the Piatti Quartet will be presenting music by Joseph Phibbs and Mark-Anthony Turnage plus a new work from Darren Bloom. There are other assorted new works dotted elsewhere, and as ever there’s the annual Composer Academy for early-career composers, this year being mentored by Michael Zev Gordon.

And there are some extremely interesting events beyond these shores. Next month, Louth Contemporary Music Society is presenting the world première of James Dillon‘s latest piece, The Louth Work: Orphic Fragments. A work for soprano and a small ensemble of five players, as the title implies Dillon has drawn on ancient texts attributed to Orpheus, alongside poetry from the father of the sonnet, Petrarch, Apollinaire and Beat poet Allen Ginsberg. The concert is being given by Crash Ensemble with soprano Peyee Chen, who will also be performing a rendition of the Three Songs by Ukeoirn O’Connor (actually by Jennifer Walshe), of which Chen gave a fittingly weird and wonderful performance at last year’s Alba New Music festival. Taking place as part of the Drogheda Arts Festival, on Ireland’s east coast, the concert is on Saturday 29 April in St Peter’s Church and tickets are a measly €10.

And in May there’ll be the annual Wittener Tage für neue Kammermusik, which i’ll be experiencing for the first time. This year’s sextet of concerts is jam-packed with exciting propositions: i’m particularly looking forward to three premières: Brian Ferneyhough‘s Umbrations, The Tye Cycle by the Ardittis, Paul Hübner and the JACK Quartet performing Timothy McCormack‘s Your Body is a Volume and Clara Iannotta‘s piano and ensemble piece Paw-marks in wet cement. Above all, though, it’ll just be great to have the opportunity to encounter totally unexpected music from composers whose work is entirely unknown to me. That’s definitely not something we get sufficient opportunities to do in Britain.

Apropos: i’ll be heading off to Tallinn again early next month for the Estonian Music Days. The festival’s engagement with new music is exceptionally diverse and forward-looking, very much more so than we usually encounter here in the UK. Among this year’s highlights: vocal group Vox Clamantis who (foreshadowing E STuudio Chamber Choir’s Cheltenham gig) will also be performing Pärt and Kreek, together with a new work from Galina Gregorieva; the first performance of Peeter Vähi‘s An April Night’s Dream for keyboards, percussion, phonogram and city sounds will be taking place in the late evening on the roof of the Estonian National Opera house(!); and the Estonian Philharmonic Chamber Choir will be giving a thoroughly eclectic concert of works by Jonathan HarveyLigeti and Sciarrino alongside premières from local composers Tatjana Kozlova-JohannesEvelin Seppar and Mirjam Tally. But i suspect the biggest highlight of all will be the event given by the country’s National Symphony Orchestra, in an all-Estonian programme featuring three world premières together with the Fourth Symphony by the great Lepo Sumera as well as Erkki-Sven Tüür‘s Cello Concerto. It’ll no doubt be absolutely exhausting, but wonderful. They really know how to do a music festival in Tallinn.

Tags: , , , , , , , , , , , , , , ,

A mass of miniature miracles: Alba New Music 2016

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

A couple of miles out of the centre of Edinburgh, emblazoned in brightly-lit capital letters, is a stark, startling sentence: THERE WILL BE NO MIRACLES HERE. Created by Nathan Coley in 2009, and situated outside the Modern Two gallery, the unequivocal message of this bold piece of art rang entirely false in the wake of last weekend’s inaugural Alba New Music Festival. Located in St Giles’ Cathedral, close to the centre of the city’s bustling Royal Mile, the focus of the festival’s main trio of concerts—a stimulating contrast to the hordes of people streaming around outside—was on works for solo instruments, an intense and intimate prospect.

Diego Castro Magas‘ Friday evening recital expanded the guitar by means of both live and fixed electronics (courtesy of Aaron Cassidy). But not in the world première of Wieland Hoban‘s Knokler, a work for acoustic guitar that the composer put on the shelf back in 2009 before returning to complete it this year. Hoban sets up a soundworld of contrasts, alternating between great delicacy and violence, the former characterised by subtle microtonal similarities, the latter by wild percussive bangs and crashes. There’s something definitely ‘magical’ about it, a sonic entity seemingly from the past and the future, speaking with a distinct authority. To behold a single instrument, often played achingly softly, suddenly making the entire cathedral space resonate was impressive to say the least. Was it perhaps a trifle overlong? Maybe, but it seems churlish to say that in the company of such an enchanted stream of ideas. It was a piece in which, at times, its actions literally spoke louder than its notes, and this would turn out to be almost a secondary theme running through the festival. Nowhere more so than in Aaron Cassidy‘s The Pleats of Matter, where it is the physical actions of the performer that are prescribed in the score, not their specific aural result; so, as Cassidy puts it, “while the physical component of the work is entirely repeatable and vaguely predictable, the sonic and timbral component is open to dramatic and indeterminate variation from performance to performance…”. What shocked me—and it’s the first time this particular kind of musical recollection has happened to me—was that, having seen the piece premièred in 2015, i found myself remembering certain collections of actions, and even aspects of their continuity—yet i would struggle to say to what (if any) extent what i heard on Friday night resembled what i’d heard 18 months ago. i was certainly seeing the same piece, but was i hearing the same piece? Yet again, Cassidy’s work repeatedly pulls the rug out from under our notions of what constitutes musical material. As i’ve opined before, i think it’s an approach potentially with inherent limitations, but all the same, witnessing again Magas’ guitar being transfigured into something that, aurally, defies timbral categorisation, was hugely enjoyable. It sets up a complex dialogue where the visual disconnect between actions and sounds throws emphasis directly onto those sounds, making us wonder entirely what they are, how they were made, where they’re going: in short, forcing us to engage with them on their own terms. Yet everything, on paper, is about action! It’s a tension that never ceases to fascinate. Read more

Tags: , , , , , , , , , , , , , , , ,