Jonty Harrison

Mix Tape #37 : Best Albums of 2016

Posted on by 5:4 in Best of the Year, Mix Tapes | 3 Comments

HAPPY NEW YEAR!

i’m starting 2017 in the usual way, with a mix tape bringing together one track from each of the forty albums on my best of 2016 list. i’m sure posterity will come to regard last year as something of a trough in human history, but this mix tape does at least testify to the fact that it also contained some truly marvellous wonders. i hope you find these three hours of music a nice distillation of the aural magic that was made in 2016; links to buy each of the albums can be found in the last two days’ articles.

The mix tape can be downloaded or streamed via MixCloud; here’s the tracklistening in full: Read more

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Best Albums of 2016 (Part 2)

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Here they are, then: the best of the best of 2016, each and every one of them packed full of the rarest imagination, invention and ingenuity. i can’t recommend them highly enough.
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New releases: Morton Feldman, Jonty Harrison, Chaya Czernowin

Posted on by 5:4 in CD/Digital releases | 3 Comments

It’s been good to get back to the plethora of new releases that have have found their way to my door in recent weeks and months. While i don’t like to make spurious connections between disparate pieces of music, i’ve been fascinated at the way various composers explore the interplay between what we might call the ‘virtual’ and the ‘actual’. In Morton Feldman‘s 1976 ‘Beckett trilogy’—comprising Orchestra for orchestra, Elemental Procedures for soprano, mixed choir and orchestra and Routine Investigations for six players, released together on a CD from Wergo titled Beckett Material—this interplay manifests itself, as it so often does in his work, in the implications of a tension between the aurally deliberate and coincidental. In Orchestra, for example, we hear a collection of seemingly disjointed bursts of material, brief slivers of ideas, as though Feldman had extracted a load of ‘salient points’ from a host of sources and strung them together. The result is music that constantly seems significant yet what it signifies is moot, continually reconfigured by context. In tandem with this is one’s perception of what constitutes a ‘connection’ between ideas, prompting a continual reappraisal of whether imitation and continuity are actually taking place or are imagined by-products of Feldman’s placement of materials. This extends even to something as simple as a melody; a recurring idea in all three pieces involves the irregular cycling of a small group of pitches that at first appear melodic but soon seem either arbitrary or subject to a more unpredictable type of permutation. Read more

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HCMF 2015: Erik Drescher, Jonty Harrison, Biliana Voutchkova

Posted on by 5:4 in Concerts, HCMF, Premières | 7 Comments

In a refreshing break from the large number of groups and ensembles that have dominated HCMF so far, yesterday was given over to three individuals. The first was Berlin-based flautist Erik Drescher, in a recital of works, all receiving their UK premières, specifically composed for the glissando flute (fitted with a variable-length headjoint). It’s an alteration that immediately suggests obvious glissando possibilities, which formed the entire content of Alvin Lucier‘s Double Himalaya. Lucier provides a slowly undulating contour which the flautist plays against a recording of the same thing made previously, resulting in endless tiny clashes and beats. It didn’t take long for the effect to exhaust its interest; three or four minutes of this would have been okay, but 12 was just self-indulgent. Its one saving grace was the clarity of its motives; the same couldn’t be said for Michael Maierhof‘s splitting 51, which involved placing the headjoint such that it is both amplified and resonated/coloured by a plastic cup. What resulted was simply shapeless and arbitrary, uninteresting sounds emanating from a gimmicky environment. Il pomeriggio di un allarme al parcheggio by Salvatore Sciarrino was a risky endeavour, as though it had been created from different colours of smoke, which were then placed within a snowglobe and shaken vigorously. Read more

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