Niels Lyhne Løkkegaard

Nordic Music Days 2019 (Part 1)

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Founded in 1888, the annual Nordic Music Days is one of the oldest contemporary music festivals in the world. It’s a peripatetic festival, moving from place to place each year, and for 2019 – surprisingly, for the first time – it moved north of the Arctic Circle, to the small town of Bodø (‘boo-duh’) in the north of Norway. As its name suggests, the festival is an opportunity for composers and performers from throughout the Nordic region to meet, collaborate and showcase to the wider world the range and diversity of their music-making.

The country that unfortunately came off worst this year – with disappointing consistency – was Denmark. Niels Lyhne Løkkegaard took no fewer than 50 triangles for his Triangular Mass – and then gave them little more than a continual, barely-changing tremolando for ten minutes. That was boring enough, but the fact that the work was conceived to be performable by any group of people, irrespective of musical training, only made such basic material seem not merely deficient but patronising; non-musicians are capable of a great deal more than just that. Loïc Destremau‘s string quartet Spoken Music had more going for it, but it was one of a number of pieces at NMD 2019 that became so interested in either technical or extra-musical elements that their actual musical interest was greatly reduced. In this case, while Destremau’s exploration of how speech can modulate conventionally-performed materials by the quartet was an interesting idea, the actual resulting music was extremely dull. Read more

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Dark Music Days 2019: Sound Mass; Reykjavik Chamber Orchestra

Posted on by 5:4 in Concerts, Festivals, Premières | 1 Comment

The final day of Iceland’s 2019 Dark Music Days festival was characterised by a back-and-forth between prosaic and profound. The penultimate concert i attended, titled ‘Sound Mass’, was an extreme case in point. Once again located in Harpa’s Kaldalón Hall, of the three works performed it was hard to do much more than shrug at Þórólfur Eiríksson‘s short electronic work Rafboð [electrical signals]. Though technically a brand new piece, receiving its first performance, it could have been composed half a century ago; not in itself a problem (the composer’s stated aim was to create a “pure old school electronic piece”), but its conveyor belt of ephemeral morsels were of literal passing interest only, superficial shapes that entirely failed to cohere into a meaningful larger whole. At 30 minutes, Circular Flow by Ríkharður H. Friðriksson was a lot bigger but hardly much better. To look at the plethora of pedals and boxes surrounding Ríkharður, processing the output from his pair of guitars, one expected something quite spectacular. Yet what ensued was like a cross between Aidan Baker and Markus Reuter, but lacking the brooding intensity of the former and the passionate, free-wheeling invention of the latter. It was hard to believe such a quantity of technology was required to create such elementary ambient, clichéd plinky-plonk guitar noodling utterly drenched beyond saturation point in reverberation. Circular Flow was far from an unpleasant experience – in fact it brought to mind soaking in the hot pots at the local swimming baths, the deeply relaxing way most of my days during the festival began – but it was impossible to take seriously music that so grandiloquently pretended that meandering was searching, and that artificial reverb and echo were a substitute for genuine profundity and depth. Read more

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