Michael Finnissy

HCMF 2016: Mark Knoop + Juliet Fraser

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My final concert at HCMF 2016 was in St Paul’s Hall in the company of pianist Mark Knoop and soprano Juliet Fraser, who presented the UK premières of two song cycles, Michael Finnissy‘s Andersen-Leiderkreis and Bernhard Lang‘s The Cold Trip, part 2. Despite the fact that some of the Finnissy was not in English, it was unfortunate that we were not given the texts for either piece, as it was often unclear precisely what was being sung (more to do with St Paul’s Hall than with Juliet Fraser), a real shame considering the fact that these were both substantial vocal works. Regardless of this, though, The Cold Trip, part 2 made its intentions really very clear within the first few minutes: using Schubert’s Winterreise as its inspiration (in this case, being ‘part 2’, focussing on the latter half of that cycle), Lang’s text comprises cut-up minute quotations, allusions and references to the Schubert in conjunction with a live piano part and piano samples executed by a laptop. This, Lang contends, creates a ‘meta-composition’ in which the sampled elements establish a palimpsest of the Schubert. It really and truly does not. Read more

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A mass of miniature miracles: Alba New Music 2016

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A couple of miles out of the centre of Edinburgh, emblazoned in brightly-lit capital letters, is a stark, startling sentence: THERE WILL BE NO MIRACLES HERE. Created by Nathan Coley in 2009, and situated outside the Modern Two gallery, the unequivocal message of this bold piece of art rang entirely false in the wake of last weekend’s inaugural Alba New Music Festival. Located in St Giles’ Cathedral, close to the centre of the city’s bustling Royal Mile, the focus of the festival’s main trio of concerts—a stimulating contrast to the hordes of people streaming around outside—was on works for solo instruments, an intense and intimate prospect.

Diego Castro Magas‘ Friday evening recital expanded the guitar by means of both live and fixed electronics (courtesy of Aaron Cassidy). But not in the world première of Wieland Hoban‘s Knokler, a work for acoustic guitar that the composer put on the shelf back in 2009 before returning to complete it this year. Hoban sets up a soundworld of contrasts, alternating between great delicacy and violence, the former characterised by subtle microtonal similarities, the latter by wild percussive bangs and crashes. There’s something definitely ‘magical’ about it, a sonic entity seemingly from the past and the future, speaking with a distinct authority. To behold a single instrument, often played achingly softly, suddenly making the entire cathedral space resonate was impressive to say the least. Was it perhaps a trifle overlong? Maybe, but it seems churlish to say that in the company of such an enchanted stream of ideas. It was a piece in which, at times, its actions literally spoke louder than its notes, and this would turn out to be almost a secondary theme running through the festival. Nowhere more so than in Aaron Cassidy‘s The Pleats of Matter, where it is the physical actions of the performer that are prescribed in the score, not their specific aural result; so, as Cassidy puts it, “while the physical component of the work is entirely repeatable and vaguely predictable, the sonic and timbral component is open to dramatic and indeterminate variation from performance to performance…”. What shocked me—and it’s the first time this particular kind of musical recollection has happened to me—was that, having seen the piece premièred in 2015, i found myself remembering certain collections of actions, and even aspects of their continuity—yet i would struggle to say to what (if any) extent what i heard on Friday night resembled what i’d heard 18 months ago. i was certainly seeing the same piece, but was i hearing the same piece? Yet again, Cassidy’s work repeatedly pulls the rug out from under our notions of what constitutes musical material. As i’ve opined before, i think it’s an approach potentially with inherent limitations, but all the same, witnessing again Magas’ guitar being transfigured into something that, aurally, defies timbral categorisation, was hugely enjoyable. It sets up a complex dialogue where the visual disconnect between actions and sounds throws emphasis directly onto those sounds, making us wonder entirely what they are, how they were made, where they’re going: in short, forcing us to engage with them on their own terms. Yet everything, on paper, is about action! It’s a tension that never ceases to fascinate. Read more

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Michael Finnissy at 70: A Metier Retrospective – Part 1. Vocal music

Posted on by 5:4 in CD/Digital releases, Retrospectives | 1 Comment

Composers habitually form relationships with performers and ensembles, but less often with record labels. And while various labels have put out one or two releases featuring the music of Michael Finnissy, only one, Metier, part of the multi-faceted Divine Art Recordings Group, has shown substantial long-term commitment to his output. To date, Metier has devoted no fewer than 12 albums to Finnissy, comprising a whopping 18 hours of his music, the earliest, Folklore, released in 1998, the most recent, Singular Voices, earlier this year. So to continue my celebrations of Finnissy’s 70th birthday, over the next few months i’m going to take a look back at this diverse collection of discs, beginning with those featuring his vocal music.

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New releases: Michael Finnissy – WAM

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The other recent release dedicated to Michael Finnissy‘s music is the product of a collaboration between the composer and clarinettist Michael Norsworthy. WAM, released on US label New Focus Recordings, explores five works composed during the last 25 years, three of them written specifically for Norsworthy, and all but one of which are recorded here for the first time. The main theme, for want of a better word, running through the collection is an examination of what constitutes a meaningful musical ‘connection’ between discrete performers and types of material. With respect to individuated, partially- or wholly-asynchronous parts, this has been a recurring feature throughout Finnissy’s career (manifesting in many of the works covered in my recent Lent Series), and this disc clarifies the concomitant fact that sense and/or coherence become very much more subjective and potentially problematic within such a context. Read more

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New releases: Michael Finnissy – Singular Voices

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What with 2016 being Michael Finnissy‘s 70th year, it’s heartening to see some new releases celebrating his work. Throughout his career, no label has done more to champion Finnissy than Metier, whose latest CD Singular Voices, released yesterday, is their twelfth devoted to Finnissy’s music (i’ll be exploring the rest in future articles). Recorded over a decade ago, the disc features a variety of works for soprano with and without clarinet and/or piano, performed by Clare Lesser, Carl Rosman and David Lesser respectively. The works date from a wide period of time, the earliest from a collection of 18 songs composed from 1966–78, the most recent from 1990, but a sense of both consistency and even continuity can be perceived throughout. This is clearly all music by the same composer. Read more

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Michael Finnissy – Offshore

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To conclude my Lent Series celebrating the work of Michael Finnissy, i’m turning to the composer’s first orchestral score, Offshore, written 40 years ago in 1976. It was composed in the aftermath of a traumatic relationship break-up, which no doubt accounts for a lot of things, not least the work’s title and particularly its surprisingly strange general demeanour. Offshore can prove disarmingly difficult to connect with on a first listening (i can recall my own initial attempt, which was an almost complete failure), in no small part due to the way that Finnissy works with the orchestra by fragmenting it into a collection of distinct sonic entities, united by gestural, behavioural, timbral and registral characteristics. Read more

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Michael Finnissy – John the Baptist (World Première)

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A great deal of Michael Finnissy‘s output is choral, encompassing the same broad range of expression as his instrumental music. John the Baptist, a short work composed in 2014, falls at the simpler, more immediate end of the continuum. Adapting words from the York Mystery Plays, Finnissy creates both a mouthpiece for the titular figure as well as something of a portrait of him. Two portions of the piece are bold and declamatory, full of confidence and heft but articulated in triple metre such that there’s a distinct element of dance. It’s a serious dance, through, the choir united in a punchy statement of both believe and intent, one that points the way to a greater power, “entire in fire”. But this bullish invocation of the trinity is also turned towards the absurdity of the idea of a deity requiring something its creation. It’s a line of uncertainty that emerges first in the other pair of sections, when pulse yields to a slow, soft form of introspection, laden with both awe and wonder as well as doubts, “I thank him ever, but am a-feared / I am not able to fulfil this deed.” Read more

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