Jennifer Walshe

Ultima 2019 (Part 1)

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

When you listen to music what do you see? What does music look like, and what do images sound like? What’s the relationship between musical and visual stimuli? These questions became something of a recurring consideration during the three days of concerts i attended recently during the opening weekend of the 2019 Ultima festival in Oslo. To be more specific, these questions were caused by the prevalence of visual elements incorporated into many of the pieces being performed. While in some cases the music was enhanced, elsewhere it proved a great deal more problematic.

The most egregious example unfortunately came on the festival’s opening night, at a concert in the city’s grand Konserthus devoted to just a single piece, the world première of Lyden av Arktis (Sound of the Arctic) by Lasse Thoresen. Even before the Arctic Philharmonic began to play, issues were already raising themselves. Thoresen had provided not so much a programme note as an extensive blow-by-blow account of each and every detail of its highly programmatic narrative, inspired by and seeking to depict aspects of Arctic landscape, nature, experience and heritage. Quite apart from the fact that this is the worst possible form of programme note – effectively telling the listener (spoiler alert!) what they should be listening out for and how it should all be interpreted – the only meaningful way to have engaged properly with its tl;dr contents would have been to follow along with the text during the performance, which in the darkened hall would in any case have been impossible. Read more

Tags: , , , , , ,

Borealis 2019 (Part 1)

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

“En festival for eksperimentall musikk”. That’s the strapline for arguably Norway’s most progressive contemporary music festival, Borealis, some of which i was fortunate to attend in Bergen last week. As straplines go it’s almost laughably simple, yet its implications turned out to be impressively far-reaching. The key word, of course, is ‘eksperimentall’, and while many new music festivals are very good at challenging musical boundaries, i’ve not encountered many that have so fearlessly challenged musical hierarchies and definitions. Of the former, there was no meaningful sense in which any particular compositional, performative or presentational aesthetic, approach or outlook – no matter how conventional or radical – was in any way privileged or favoured; of the latter, on numerous occasions i found myself not merely pondering the usual questions about intention and outcome and the like, but much more fundamental matters: “can this even be regarded as music?”. Experiments – true experiments, at least – inevitably take place within a context of belief and risk, contexts that have nothing whatsoever to do with safety or comfort, and as such there was absolutely no doubting that, in the truest possible sense, everything i experienced at Borealis was to some degree “eksperimentall musikk”. Read more

Tags: , , , , , , , , ,

HCMF 2018: A History of the Voice, Christian Marclay + Okkyung Lee, Quatuor Bozzini

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

If there’s one thing guaranteed to generate a load of pre-festival buzz, it’s a major new work by Jennifer Walshe. In recent years, while i’ve admired the invention and audacity of Walshe’s large-scale compositions – 2014’s The Total Mountain and EVERYTHING IS IMPORTANT, performed at HCMF two years ago – penetrating their hysterical (in every sense) exteriors has proved difficult. So i’ll admit to feeling a little trepidation before her latest epic, A History of the Voice, given its UK première by HYOID Contemporary Voices in St Paul’s Hall yesterday evening.

In comparison to those earlier works, this new piece was a much more coherent experience. This was due in part to the fact that Walshe has narrowed the scope of the work’s subject matter, and in tandem with this it has a clear episodic structure. As the title states, the piece is a personal exploration of the voice, personal inasmuch as the history it presents is a subjective one – a history, not the history – reflecting Walshe’s particular outlook and interests. Composed for four singers, the piece again incorporates video, though its primary role in A History of the Voice is contextual, providing introductions and additional commentary on each of the work’s episodes. Read more

Tags: , , , , ,

Mixtape #49 : Untitled

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

For the latest 5:4 mixtape, i’ve turned my attention to that most elusive of artistic statements, the untitled work. When i set out to assemble a shortlist of pieces in my library that had adopted the word ‘untitled’, it wasn’t immediately obvious what i’d find. Yet, with one or two exceptions and to varying extents, untitled tracks tended to yield a very particular type of soundworld: generally dark and/or monochrome in terms of their tone, tenor or palette, with slow, patient use and deployment of sound, often including extended periods of quietness, overall lending the music a pensive, deliberate quality. Above all, i found these pieces to be music highly abstract in character, and while use of the word ‘untitled’ can often provoke frustration when we encounter it in works of art (“doesn’t the artist know what they’re trying to say?”), the intangibility of such music seems to strongly justify the suitability of this word. However, artists use the word ‘untitled’ in ways that are as playful and deceptive as they can be aloof and distancing, and for this mixtape i’ve therefore included not only tracks that are simply untitled but also tracks that use the word ‘untitled’ as part of a longer title as well as untitled segments of larger titled works.

In the first hour, having begun with something of a red herring by Hecq, i’ve concentrated on calmer, darker examples that tend to focus on explorations of texture, from both static and variegated perspectives. Near the centre of the mix is the unexpurgated 15-minute Untitled Drone by Aidan Baker that isn’t just the highlight of his wonderful 2009 album Blue Figures, but one of the most beautifully coruscating exercises in slow-burning ambient that i’ve ever heard. In the wake of this, in the second half i’ve explored untitled tracks that are generally brighter and more colourful, introducing more beat- and pulse-based pieces, some of which even feature vocals (a real rarity in the world of ‘untitled’ music, it seems), and more overt use of instrumental sounds, both raw and cooked.

Throughout the mix, there’s a wide temperature range demonstrated in these pieces, from the warmth (not always gentle) and/or balmy intimacy found in pieces by, among others, Subsea, Zbigniew Karkowski & Kelly ChurkoJames Clarke, Sea Oleena, Ochre, Aphex Twin and 36 to the varying forms of chilly remoteness, some of it seriously aggressive, exhibited by the likes of Noto, CD-R, AutechreHelena Tulve, Nordvargr, Lethe and Christopher McFall & Ben Fleury-Steiner. And that playfulness i mentioned before – plus a fair amount of inscrutability – can be heard manifesting particularly in tracks by Natasha Barrett, John Wall & Alex Rodgers, Marc Behrens, DJ Yo-Yo Dieting, Øyvind Torvund and John Oswald.

Ultimately, though, i don’t want to labour these descriptive terms or indeed the putative aesthetic connections i’ve been making between them, as they may belie the fact, as i said at the outset, that these are above all strikingly abstract pieces of music, and their ostensible lack of a title (if indeed that is what it is) is perhaps all that needs to be said about them.

Two-and-a-half hours of unidentified musical objects; here’s the tracklisting in full, together with links to obtain the music (interesting to note how many of them are available free of charge: another ‘untitled’ connection…?). Due to the inherent ambiguity of some of the track titles, where relevant i’ve also included in the tracklisting the track numbers. As always, the mixtape can be downloaded via the link below or streamed via MixCloud. Read more

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

Mixtape #43 : International Women’s Day

Posted on by 5:4 in Mixtapes | 1 Comment

As today is International Women’s Day, for my March mixtape i’ve allowed myself to indulge in a celebration of fabulous music by women composers and musicians. Compared to most of my mixtapes, this was one of the more difficult to create, for two reasons. First, because the shortlist of music i was keen to include wasn’t remotely short, but simply enormous (137 individual tracks, lasting a little over 12 hours), and second, because deciding which of them to omit was tough in the extreme. In the end, though, i found an interesting and, i hope, imaginative way of navigating through such a bewilderingly diverse collection of music. There’s no particular structure to the mix as a whole this time, as i was simply allowing myself to be drawn spontaneously from piece to piece, sometimes smoothly, sometimes breaking things up with non sequiturs.

There’s a not quite even split between instrumental and vocal music, though both of these terms are interpreted pretty eclectically. The latter range across the spectrum of sentiments, from poignant and painful (Brika, Laura Sheeran, FKA Twigs, Galina Grigorjeva, Lori Cullen) to passionate and elated (Anna von Hausswolf, Cocteau Twins, Princess Chelsea, Sleigh Bells, Jackie Trent, Ari Mason, Vanbot, Carice van Houten, Peaches, Trio Mediaeval, Ladyhawke), both of widely varying orders of magnitude, alongside the more reflective (EmikaRóisín Murphy, Demen, Zola Jesus, Nynke Laverman, OY, ionnalee, Robyn) and downright demented (Jennifer Walshe – who else?).

As for the instrumental music, not all of it is non-vocal: the pieces by Gazelle Twin, Lauren Redhead and Annette Vande Gorne occupy an electroacoustic place in between, each utilising voices in different ways. As for the rest, perhaps the most applicable continuum is between strains of agitation and disquiet (Jocelyn Pook, Kristin Øhrn Dyrud, AGF, Copeland, Zeena Parkins, Elizabeth Anderson, Natasha Barrett, Mica Levi, Wendy Bevan, Clara Iannotta, Pauline Oliveros, Rose Dodd, Vanessa Rossetto, Chaya Czernowin, Rebecca Saunders, Arlene Sierra, Galina Ustvolskaya, Line Katcho, Milica Djordjević) and calmer, more measured music (Olga Neuwirth, Linda Catlin Smith, Anna Þordvaldsdóttir, Motion Sickness of Time Travel, Chiyoko Szlavnics, Unsuk Chin, Christina VantzouÉliane Radigue, Delia Derbyshire, Isnaj Dui, Susanne Sundfør).

Elizabeth Parker‘s radiophonic cheerfulness doesn’t qualify as either of those, but then pretty much none of the 60 wonderful pieces i’ve featured on this mix fit neatly within one particular box or label: their inventiveness is boundary-challenging, which makes them ideal for a day like today. Apropos: i’ve ended the mix with a track by Frida Sundemo that beautifully captures a sense of optimism, which i think is also ideal for this particular day; the song’s theme is love, yet its emphasis on ‘flashbacks and futures’ seems an apt phrase for the confident, forward-looking attitude exhibited by all of this music, and which this mixtape celebrates.

The mixtape can be downloaded and streamed below; here’s the tracklisting in full, together with links to obtain each of the albums: 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: , , ,

HCMF 2016: Arditti Quartet + Jennifer Walshe, Ensemble Musikfabrik + Peter Brötzmann

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

Music festivals understandably like to start with a bang; the 2016 Huddersfield Contemporary Music Festival began with a WTF. And not just one but two of them, courtesy of Jennifer Walshe with the Arditti Quartet and Ensemble Musikfabrik with Peter Brötzmann. Their respective ‘WTF-ness’ was partly superficial, partly the stark nature of the collaborations, and partly a by-product of the tenacity of the composers with regard to their ideas, in both cases perhaps best described as ‘dogged’. Read more

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: , , , , , , , , , , , , , , , ,

New releases: NEOS box sets – Donaueschinger Musiktage 2014, Darmstadt Aural Documents Box 3: Ensembles

Posted on by 5:4 in CD/Digital releases | 2 Comments

What with the increase in listeners turning away from physical releases in favour of digital downloads, and in light of yet another (admittedly somewhat spurious) article this week offhandedly proclaiming the imminent death of the album, the efforts of German label NEOS to put out large, lavish box sets are both absurd and marvellous in their optimistic enthusiasm. No other label does contemporary music like NEOS; in terms of quality and quantity, they are leaps and bounds ahead of everyone else, with an immense breadth of scope that’s doggedly committed to some of the most risk-taking, experimental music-making going on anywhere.

It’s NEOS who are responsible for issuing annual accounts of the goings-on at the Donaueschinger Musiktage (this year’s begins in a little over a week). The 2014 festival is represented, as usual, with a box set of four discs, though on this occasion the fourth disc is a DVD. The set features twelve large-scale compositions (many of them world premières), running to nearly seven hours of music, affording one the rare opportunity really to immerse oneself in a festival; for once, the cliché that it’s the next best thing to actually being there is entirely true. It would take a dissertation to discuss them all, but there are several that stand out more than the rest, such as Friedrich Cerha‘s Nacht for orchestra, seemingly split down the middle with its first half occupied with complex textures moving from high to low registers. The second half is sparer and more melodic, and has something of the searching freedom that typified the free atonal period; it’s really very lovely, with a later sense of poised tension released in a last-minute burst. For the first 90 seconds of Hanspeter Kyburz‘s Ibant obscuri, barely anything happens; but then, suddenly, it lurches out of the shadows, and the sheer size of his large orchestra makes itself intimidatingly felt in loud shrieks and thrusting accents (i’m not doing justice to it, it sounds literally massive). A bit like Cerha, its latter half has a melodic urge, seeking expression amidst a chaos of wonderfully unpredictable turbulence (including something akin to a wobble-board duet). The final few minutes are thrilling, ending in dazed repetitions of a single low note. Read more

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

Mixtape #36 : Best Albums of 2015

Posted on by 5:4 in Best of the Year, Mixtapes | 5 Comments

A very HAPPY NEW YEAR to you all!

In keeping with 5:4 tradition, here’s the new year Mixtape showcasing music from each of my Best Albums of 2015. Three hours that demonstrate something of the sonic wonders that materialised last year. Enjoy! — and there are links to buy each of the albums featured in the last two days’ articles.

As usual, the mixtape can either be downloaded or streamed via MixCloud. Here’s the tracklisting in full: Read more

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

Best Albums of 2015 (Part 1)

Posted on by 5:4 in Best of the Year | Leave a comment
* Please note this list has how been superseded by the one on the Best Albums of the Years page *

Pausing only to reiterate once again how fundamentally definitive and provisional are all lists, here we go with my countdown of 2015’s best albums, starting with numbers 40 to 21. Part 2 tomorrow.

40 | Andrew Liles – Miscellany – Lussuoso (Electronics: 1990 to 2015)

The first of several epics on the list, Andrew Liles’ consistently unpredictable output was dominated in 2015 by this dazzling three-hour celebration of diverse electronic works dating back a quarter of a century. As the name implies, Miscellany is a veritable hotchpotch, one with a distinct leaning toward the more raw end of electronics. But this is merely the basis for a kaleidoscope of works encompassing radiophonic mayhem, intense beat-driven numbers overlaid with John Carpenter-esque basslines and/or Wendy Carlos-esque baroque twiddling, expansive ambient vistas and delicate, multi-layered bits of melodic tracery. It all makes for an entirely bewildering yet mesmerising experience. [self-released]

39 | Benge – Forms 4 – Moor Music

The latest in Ben Edwards’ ongoing ‘Forms’ series (begun in 2013) is this fine album, created using just a single synthesiser, the Yamaha VL1-m. The sense of evocation here, mingled with elements of nostalgia and retro sensibilities, is strong, conjuring up a soundworld that’s abstract and elemental yet drenched with connotations and allusions. And on top of all that it’s really very beautiful. [self-released – free download]

38 | Kate Havnevik – &i

Punchy, imaginative pop that builds directly upon the foundations set out on her 2011 album YOU. Smooth electronica is still the music’s most prevalent quality, but Havnevik keeps it informed with gruff basslines and itchy rhythmic diversions. Her voice is as gorgeous and indeed gymnastic as ever, turning endless cartwheels and somersaults which both reinforce the emotive core and embody the anthemic frivolity of her exquisite songs. [self-released]

37 | IAMX – Metanoia

The product of a runaway success crowdfunding venture, Metanoia finds Chris Corner extending further the utterly unique IAMX sound. His songs have always inhabited the widest of extremes in order to capture faithfully life’s emotional highs and lows, embracing grit and grime as well as the most ecstatic heights of elation (that voice!), and this album is no exception. Song titles like ‘No Maker Made Me’, ‘Say Hello Melancholia’ and ‘Oh Cruel Darkness Embrace Me’ are simultaneously brave—potentially suggesting a rather off-putting emo sensibility at work—and profoundly honest; yet the beat goes on, and while there’s more than an element of danse macabre permeating these songs, the restlessness of their rhythms keeps them from becoming self-indulgent. [self-released]

36 | Alva Noto – Xerrox Vol. 3

Xerrox Vol. 3 inhabits a very personal environment, founded upon broad washes of soft ambience, overlaid with bursts of electronic babble and semi-arbitrary burblings that more-or-less coalesce into melodic shapes. The slow, sedate manner of the first two Xerrox albums often suggested the solemnity of a ceremony, but Nicolai keeps things lighter on this occasion: materials are thinly-layered and clearly demarcated, and the general tone is one of buoyancy and lift, each track practically floating on its own thermal currents […] Avoiding the tendencies so many ambient composers make when attempting to tap into the idea of outer space, Xerrox Vol. 3 instead offers something that manages to evoke immensity and things unknowable from the perspective of a lone, small individual, at once infinite and intimate.” (reviewed in June) [Raster-Noton]

35 | East India Youth – Culture of Volume

William Doyle’s second album is a little hard to pin down. “The end result is not what was in mind” he sings, and it’s tempting to hear that as a descriptor for Culture of Volume itself. At its heart is a light-footed pop sensibility—Doyle is an irresistible melody-maker—yet this sits within a context of convoluted structures that often feel like miniature operas, their drawn-out dramas telescoped into four-to-six minute time spans. Whether expressed over an unstoppable pulse or through long-form lyrical lines (as in album highlight ‘Carousel’), they make Culture of Volume one of the year’s most beguilingly off-kilter pop albums. [XL] Read more

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

New releases: Simon Steen-Andersen, Monty Adkins & Stephen Harvey, Jennifer Walshe

Posted on by 5:4 in CD/Digital releases | 6 Comments

My round-up of the most interesting new releases this time features three objects: a film, a box and a book, each desirable for very different reasons. The film, available from Dacapo Records, is a much-to-be-celebrated DVD release of Simon Steen-Andersen‘s bewilderingly marvellous work Black Box Music. The memory of my first encounter with the piece at HCMF 2012 is still very vivid, and that’s entirely due to the skilful blend of wit and virtuosity that is encapsulated both within and without the box. It’s true that Steen-Andersen’s work doesn’t always hit home as successfully as this, but that criticism seems almost churlish when confronted by the frankly amazing breadth of his imagination. In Black Box Music, a solo performer directs and interacts with two spatially separated groups of instrumentalists; these directions and interactions come via a camera feed from inside the titular box, filming the soloist’s hands. Cast in three movements, it progresses from a kind of ‘warming up’ to a dazzling display of apparent cause and effect, the soloist’s gestures seemingly eliciting certain types of material and behaviour from the players; but there are times when this becomes subverted, suggesting the relationship is rather more complex than seemed at first. Read more

Tags: , , ,

Mixtape #30 : Prime Numbers

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

For the new 5:4 mixtape, i’m not so much exploring a theme as a conceit. Mathematics has been a recurring feature of both my compositional and recreational activities lately, so for this new mixtape i’ve compiled a selection of music the titles of which incorporate the first 21 prime numbers. It was, i should say, quite a challenge, but the result is, i think, a highly stimulating mixture of exquisite non-sequiturs and unexpected aural connections. The mix is in part characterised by the presence of line, from a host of oblique angles, including jazz (Tartar Lamb II), avant-garde (John Zorn), math rock (Three Trapped Tigers), neo-Wendy Carlos retrosynthtronics (Laibach), indeterminacy (Kenneth Kirschner), counterpoint in extremis (Conlon Nancarrow), bassline-driven electronica (Last Step), post-romantic ecclesiastical dreaminess (Marcel Dupré) and lo-fi intimacy (Kid Koala). Elsewhere texture predominates, either with a harmonic underpinning (Ochre, Celer, Nine Inch Nails (but only just), Dick Mills, V/Vm) or from a percussive/glitch/noise perspective (At Jennie Richie, Ryoji Ikeda, Paul D. Miller, Bass Communion, @c). Read more

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

Jennifer Walshe: Detleva Verens – Scintillia

Posted on by 5:4 in Lent Series | Leave a comment

As it’s St Patrick’s Day, who better to feature next in my Lent Series than one of the most brilliant voices in Irish contemporary music, Jennifer Walshe. In appraising Walshe’s work, it’s impressive enough to consider just the seemingly boundless intricacies of her imagination. Famously, Walshe has fabricated the existence of a group of composers under the umbrella collective Grúpat, each with their own very extensive back-stories and discrete artistic personalities. Many of Walshe’s compositions are attributed to these Grúpat figures, pseudepigrapha that demonstrate her remarkable breadth of compositional interest. But equal to this imaginative power is Walshe’s virtuosity as a vocal performer; it’s not always clear what on earth is coming out of her mouth (or indeed why), but such questions are hard to formulate when one’s grappling with her incredible dexterity and stamina, both of which have practically become the stuff of legend. Read more

Tags: , , ,

HCMF 2013: Shorts

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

There’s a curious phenomenon that seems to strike people the longer they spend at HCMF: a cross between regret and guilt at the events they’re not attending. i periodically suffer from it myself, and never more so than on their annual ‘Shorts’ day, which took place yesterday. Fifteen small- and mid-scale concerts, containing 38 pieces, in total lasting around 13 hours—it would take a certain kind of person to go to everything, and i have to confess i’m not that kind, so i experienced what we might call “the HCMF qualm”, my conscience nagging me at the music i didn’t hear and which may well have turned out to be brilliant.

However, i did get to nine concerts, and a thoroughly mixed bag they were. The first thing to say is that it’s an incredible treat to be able to hear such a diverse selection of music as this, and the performance standard throughout the day ranged from highly competent to downright dazzling. The compositional standard was rather more variable, and almost every concert had its share of flops (the worst that i experienced being Jonathan Cole’s butt-clenchingly tedious saxophone quartet Menhir, which the otherwise talented Fukio Ensemble could do nothing to save). There were plenty of moments of magic, however: the wonderfully delicious conclusion to Kerry Andrew‘s anthem O lux beata Trinitas, the disorienting division between fragrance and grind in Rose Dodd‘s electroacoustic Aandacht, some sensitively-judged interaction between organ and electronics in Huw Morgan‘s The Unseeing Eye at the Lung’s Heart and a fascinating sonic network of relationships between clarinet and string trio in Dai Fujikura‘s Halcyon. Read more

Tags: , , , , , , ,