Malin Bång

HCMF 2018: HISS@10, Kudzu, Fast Gold Butterflies

Posted on by 5:4 in Concerts, HCMF, Premières | 8 Comments

Huddersfield Contemporary Music Festival. Of those four words, i’d hazard to suggest that the most important is the third one, music. What exactly constitutes ‘music’ is a good question, and one of HCMF’s strengths is the way it’s prepared to challenge and probe what that word connotes and how it can be defined. This is something i’ve been thinking about a lot since yesterday afternoon’s concert at Bates Mill, featuring the UK première of Kudzu/the sixth phase by Swedish composer Malin Bång. i’m not going to outright suggest that Kudzu isn’t a piece of music; truth be told, i’m not at all sure what it is, and on the strength of conversations with various other people after the concert i don’t think i’m alone in that uncertainty.

Bång’s work Siku, for violin and electronics, was performed at last year’s HCMF, and while it was a modestly interesting piece, i noted on that occasion how it hadn’t been possible to reconcile the programme note – about the damage humanity has caused to the ecosystem – with the music. With Kudzu, Bång has seriously upped the ante, to the extent that it’s essentially a 50-minute programme note-cum-agitprop presented as a piece of performance art that’s barely possible to reconcile with the very concept of music. Six ominous hourglasses, spotlit on each side of the stage; a flipchart with assorted statistics displayed; a text running throughout, recounting various statements, news stories and anecdotes (disconcertingly undermined by one or two factual errors and a myriad spelling mistakes); a piece of sand-coloured carpet being gradually spray-painted green; numbers on ping pong balls being selected from a tombola, leading to pieces of paper with unexplained dates upon them fixed on the performers’ backs; bits of foliage being arranged around the space; scribblings on the flipchart that were subsequently ripped up. These and other activities were accompanied by sound that Bång had clearly designed to be as pitchless as possible, the members of the Curious Chamber Players either vaguely rubbing and scratching their instruments or assaulting them to produce largely undifferentiated episodes of lowercase croaking or walls of blank noise. For 50 minutes. Read more

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HCMF 2017: Polish Radio Choir, Karin Hellqvist

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

For the first twenty minutes of the concert given by the Polish Radio Choir in Huddersfield Town Hall yesterday, i was forming the view that, though what we’d heard seemed at odds with his description, Dai Fujikura had nonetheless composed not only two of his best ever works, but better than much of the new choral music i’ve heard in the last few years. However, then Polish composer Agata Zubel came onto the stage to take a bow, and it transpired we hadn’t been told that the entire running order had changed. Only now, after this, did we actually hear the UK and world premières of Fujikura’s Zawazawa and Sawasawa respectively, and as it turned out they were a much more conventional and humdrum affair. Zawazawa was interesting for a time, a mixture of homophonic writing with a muscular delivery giving the impression of a single voice refracted or multiplied into a much larger manifestation. It was let down by an excess of repetition, but quite pretty at times. Sawasawa, by contrast, was thoroughly confused, mainly due to the addition of a marimba that at almost no point seemed connected or related to what the choir was doing. Or, indeed, relevant; often it seemed as though two entirely separate pieces were being played simultaneously. All very odd.
Wojtek Blecharz‘s Ahimsa, the UK première of which had actually begun the concert, explored a fascinating patchwork vocal texture made up of sonic swatches imbued with small, highly characterised motifs, acting like drops of ink being absorbed into a piece of tissue paper. Read more

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