Michael Cutting

Mixtape #53 : Best Albums of 2018

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Happy New Year everyone!

Many thanks to all of you who have read, followed, commented, shared, promoted and otherwise supported the blog during the previous year, most especially to my beloved band of Patrons. i’m starting 2019 in the usual way, with a new mixtape featuring something from each of the brilliant albums in my Best of 2018 list. Being such an eclectic list, the ‘narrative’ of this mixtape is one that unavoidably veers between quite wildly dissimilar styles and aesthetics, but to my ear that only makes it all the more interesting and fun.

40 tracks (well, technically 41: Jóhann Jóhannsson’s were short so i included two) that testify to and celebrate the range and scale of musical wonders created during 2018 – the full tracklisting is shown below, and links to buy each album can be found in the previous two days’ articles. As always, the mixtape can be downloaded or streamed. Read more

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Best Albums of 2018 (Part 2)

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i said yesterday how 2018 had been a very good year – just how good is encapsulated in these, the best of the best of the year’s albums, each one of which will do sublimely wonderful things to your ears. Read more

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HCMF revisited: Michael Cutting – I AM A STRANGE LOOP V (World Première)

Posted on by 5:4 in Premières | 1 Comment

In just five days’ time, this year’s Huddersfield Contemporary Music Festival gets going. That’s a big deal anyway, but this is its 40th edition, so there’s even more cause than usual for celebration. As a warm-up, i’m going to spend this week revisiting a few of the more memorable pieces from the last few festivals. The recitals given by pianist Richard Uttley have been for me some of the most exciting HCMF concerts in recent years, always presenting a thoroughly unpredictable collection of works embracing both the lyrical and experimental aspects of the instrument (and of Uttley himself). At HCMF 2016, he gave the first performance of Michael Cutting‘s I AM A STRANGE LOOP V.

It’s the second piece Cutting has written for Uttley that involves the use of a Fender Rhodes piano. The first, This is Not a Faux Wood Keyboard (premièred by Uttley at HCMF 2015), captured and harnessed the piano’s actions through use of a loop pedal. For I AM A STRANGE LOOP V, this premise has been expanded by utilising a pair of reel-to-reel tape machines. In each of the work’s four movements, Uttley is required to record portions of his performance, which are then played back while additional material is played. In practice, the two tape machines become second and third instruments in their own right, leading to interesting and unpredictable passages of 2- and 3-part semi-recycled counterpoint. Read more

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HCMF 2016: Richard Uttley, Quatuor Diotima

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Having packed out Phipps Hall at HCMF last year, pianist Richard Uttley‘s Saturday morning recital found him in the considerably more fitting space of St Paul’s Hall. Taking place on a stunningly cold day—local temperatures hovering around -1°C—the audience was healthy in size but not in general well-being, peppering the concert with (in one case, worrying close proximity) blasts of coughage. Quite apart from anything else, Uttley deserves considerable kudos for the way he tenaciously maintained concentration. Similar to Seth Parker Woods’ recital the previous day, Uttley performed four works, two of which involved technology. Read more

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HCMF 2015: Richard Uttley, United Instruments of Lucilin

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It’s perhaps a little early, following just two concerts yesterday evening, to start describing the characteristics that typify this year’s Huddersfield Contemporary Music Festival. But based on these, and considering the featured composer is Jürg Frey, it would seem that ‘delicacy’ is going to be one of this year’s prevailing themes. In saying it dominated the piano recital given by local hero Richard Uttley, that’s as true of the performer as it was of the music being performed. i wouldn’t use this term of many pianists but, both from a purely aural perspective as well as watching him perform, Uttley comes across like a ballet dancer. His movements are graceful, lyrical, acrobatic; keys are sprung from, landed upon, tickled, urged, encouraged, coaxed—but rarely, it seems to me, merely struck.
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HCMF 2014: Next Wave, Trio Accanto

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Most of today’s concerts were part of an initiative run by Sound and Music and NMC Recordings called Next Wave, showcasing the work of composers in higher education. The performances involved members of the London Sinfonietta, Sounds of the Engine House and ACM Ensemble, in an assortment of small size groupings. Highlights among the twelve pieces included Michael Cutting‘s I AM A STRANGE LOOP III, composed for cassette recorder (in the act of recording itself), piano and percussion. Both the soundworld and the form of the work are striking and very effective indeed, clear in its sense of direction yet with a pervasive air of spontaneity. The conclusion, entering a dark, hauntological space, was wonderful; the only danger with the piece was being distracted by the exploits of the players, especially the percussionist’s use of a bicycle. Weiwei Jin‘s Sterna Paradiaea, Returning… was arguably the most ambitious work of the day; the second act of a transm Read more

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