Cheltenham Music Festival got both seriously and playfully pianistic on Sunday. And theatrical too, first in a 50-minute dramaturgical discourse from experimental pianist Sarah Nicolls, and later in a recital by Clare Hammond including two works involving film. Nicolls’ Moments of Weightlessness was a genuine curiosity, insofar as it wasn’t exactly a concert or a piece of performance art, but was instead something beyond either. From one perspective, it was a kind of statement of intent, a demonstration of the aesthetic, the capabilities and the potential of the unique new piano Nicolls’ has developed over the last few years, an instrument that brings to mind the vertical arrangement of the ‘giraffe piano‘, erected on a large steel frame that enables it to be moved and rotated on its axis. Read more
Among the recent releases from the NMC Recordings stable i was pleased to see one devoted to the music of Kenneth Hesketh. Ken’s music has intrigued me for some years, & i’ve had the good fortune to conduct one of his works (Fra Duri Scogli) back in 2010. The new NMC disc brings together a cluster of pieces, most of which were composed around five years ago. They include no fewer than three orchestral works, plus a pair of ensemble pieces, focussing on commissions for the Royal Liverpool Philharmonic Orchestra & Ensemble 10/10, who are the respective performers on the disc.
i think it’s only fair to suggest that Hesketh’s music is an acquired taste, & not because it’s particularly ear- or mind-mangling. On the contrary, one of the characteristics that typifies these five works is their overwhelming clarity, which over time can become a tad relentless, even oppressive. Yet that’s an integral aspect of the multi-faceted charm that is equally typical of this music. When turned in the direction of an archetypal concert-opener, as in A Rhyme for the Season, the orchestral forces are kept firmly in place, embodying the kind of spiky, ants-in-the-pants restlessness that fans of mainstream (i.e. published) British music will find very familiar, yet treated to more than usually enchanting orchestration. Ideas pass at breakneck speed between the sections, & despite its relative functionality, there are some nicely unexpected structural moments that prevent it feeling workaday or staid. Read more
Apologies for the rather lengthy pause here on 5:4; for the last couple of weeks i’ve been snowed under with numerous things. The most important of them is the début concert by my new contemporary music ensemble, Interrobang, taking place in the Recital Hall of Birmingham Conservatoire next Monday (1 February), at 7.30pm. The programme is as follows:
• Kenneth Hesketh – Fra Duri Scogli for six players
• Paul Dolden – The Vertigo of Ritualized Frenzy. Resonance #4 for bassoon and tape [World Première]
• Joanna Bailie – Charh for six players
• Galina Ustvolskaya – Symphony No. 5 “Amen” for reciter and five players
• Joanna Bailie – Five Famous Adagios for clarinet and string trio
• Paul Dolden – The Heart Tears itself Apart with the Power of its own Muscle. Resonance #3 for 10 strings and tape [UK Première]
So… a pretty demanding collection of pieces, but all of them highly engaging, and often pretty mind-blowing. i know 5:4 has a pretty international readership, but anyone not too far from Birmingham, do come along if you can—it’s going to be a spectacular occasion, and lots of fun! Tickets are £5.50 (concessions £3).
An article about Paul Dolden, planned a long time back, will be coming soon, as will—i hope—the first 5:4 podcast.