Lauren Sarah Hayes

HCMF 2017: Laura Cannell, ICE + Distractfold + Fritz Hauser + Anne Bourne, Mix Tape

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

As i’ve indicated previously, the non-partisan diversity of HCMF is impressively broad these days, and one of the concerts that best exemplified this took place in Bates Mill Photographic Studio on Saturday morning, in the company of Laura Cannell. To describe her as a composer and performer of folk music would be to over-simplify greatly what Cannell did in the six short movements of FEATHERS UNFURLED, receiving its world première. Switching between a fiddle and a pair of recorders (the latter being played simultaneously), each piece took tropes from both folk music as well as earlier musical idioms as the starting point for broader and more personal explorations. All of the works employed drones to underpin them, and in the various fiddle pieces this accentuated the primacy of open strings, which were continually heard as reference points, grounding the music, from which more (care)free ideas could spring and rise. In one of these pieces, Outstretched, this primacy was particularly striking as, due to detuning the instrument, the quality of the drone at first came to resemble an intoning male voice, later lending an unsettling air to the music due to its unexpected gravitas. The final fiddle piece, In The Room Not Passing Through – one of two using a bow with hair going both over and under the strings – moved farthest from its allusive conventions, combining obsessive bowing with extremes of bow pressure (both too much and too little). The sound emanating from the instrument, in conjunction with Cannell’s stylised mode of delivery – involving small, careful movements within a confined performance space – hinted at something magical being invoked beneath the music. In the recorder pieces Untethered and Hollowed, Cannell took on an even more shamanic demeanour, her movements now the ritualised actions of spell-casting, resulting in heavily motivic material in the latter piece, and a strange tonality betwixt minor and major in the former. This concert was a genuinely unexpected treat, proving how alive and adventurous new manifestations of ancient traditions of music-making continue to be. Read more

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