Kasper Toeplitz

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

Posted on by 5:4 in Concerts, HCMF, Premières | Leave a 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 2015: Shorts

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

Being a Cotswolds lad, born and raised, i’d have to liken HCMF’s ‘Shorts’ day of free miniature concerts yesterday to a long walk over the hills, with spectacular vistas yet passing through numerous fields randomly distributed with large cowpats. In each field, you pick a direction and stick to it, with obvious consequences. In short, we all ended the day a little muckier than we’d started. Read more

Tags: , , , , ,

Electric Spring 2015

Posted on by 5:4 in Concerts | 2 Comments

i don’t know which felt more strange, being in Huddersfield for a music festival in February (rather than November), or the fact that, somehow, for two decades the university’s Electric Spring festival has entirely passed me by. Better late than never, i suppose, especially as this year’s festival, which took place over five days last week, was celebrating a double anniversary, both the 20 years that Electric Spring has existed as well as the 10 years during which it has been run by composers Monty Adkins and Pierre Alexandre Tremblay (an era which has now ended; in future the festival will be curated by a newly-formed committee).

In addition to various daytime activities—including workshops on sound projection (using Huddersfield’s 48-speaker HISS diffusion system) and live coding (supplemented by a late evening ‘algorave’), as well as an MSP symposium and the ‘Yorkshire wiggle’ modular synthfest—Electric Spring centred on five evening concerts, featuring a headline act and opening with a short work by a different composer. The latter varied considerably in terms of both imagination and execution. Ben PottsCuboid was wilfully obtuse, bookended by bouts of tickling a kind of suspended multiple wobble-board, in between which non-sequitur bursts of shifting bandwidth came and went; it was at least mercifully short. Roberto Gerhard‘s DNA in Reflection (Audiomobile No. 2), composed in 1963, formed the soundtrack to a film by Hans Boye and Anand Sorhabal. This felt problematic in a similar way to some of the film accompaniments by Bernard Parmegiani, insofar as the visuals in no way lived up to the more experimental qualities of the music. Where the film was characterised by symmetry and anecdotal references, full of cycling images with large amounts of repetition, Gerhard’s music, encompassing an extremely wide dynamic range, seemed to follow its own predominately amorphous nose (revealingly, he described it an “aleatoric soundtrack”). The audiovisual combination caused a sharp aesthetic jarring that could only be solved by shutting one’s eyes. β Pictoris b by Olivier Pasquet referred to specifics in its programme note—”an extrasolar planet located approximately 63 light-years away”—but his music could hardly have been more generalised, a study in texture formed from the movement and juxtaposition of a body of timbrally similar particles. This was interesting in and of itself, but how Pasquet’s somewhat psychobabbular description matched his material was mystifying. The highlight of these openers for me was guitarist Diego Castro Magas’ rendition of Aaron Cassidy‘s The Pleats of Matter, completed as far back as 2007 but only now receiving its world première. i’m not sure which aspect was more jaw-dropping, Magas’ performance—involving incredibly fast hand and finger agility, racing up and around the fingerboard, to and from the tremolo bar, while operating two foot-pedals—or the resultant music which, apart from a section toward the end, sounded about as far from guitar music as one could imagine. There was, admittedly, a surfeit of information to grapple with on this first listen, Magas positively ploughing through Cassidy’s layers of simultaneous action (one of the most frantic passages can be seen in the excerpt above), but its soundworld could not have been more urgent and inviting. i can’t wait to hear it again. And again. Read more

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