Peteris Vasks

King’s Place, London: Theatre of Voices – Baltic Voices

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Personality and connection tend to go hand in hand. This is just as true for getting to know a person as it is for getting to know a piece of music: we’re drawn towards or pushed away according to the ways in which its personality – its qualities and characteristics, the way it behaves – is conveyed to us. I was reflecting on this during last Friday’s concert at King’s Place featuring Paul Hillier’s vocal group Theatre of Voices, performing a sequence of choral works from Estonia and Latvia (although titled ‘Baltic Voices’, the concert did not include anything from Lithuania; a work by Rytis Mažulis was dropped from the programme). We heard works by five composers, and it was particularly interesting to note the marked differences in their respective musical personalities – informed in part by their relationship to earlier forms of music – and the effect this had with regard to engaging with and feeling connected to the music.

A context for this was provided by the opening piece on the programme, The Bishop and the Pagan by Veljo Tormis. Detailing the exploits of an ill-fated English missionary’s pilgrimage to Finland in the 12th century, Tormis initially mirrors the age of the story by employing a musical language shaped by the melodic contours of chant and the perfect fifth-laden harmonic strictures of organum. But from the outset it’s clear that Tormis is not engaging in some kind of postmodern exercise in pastiche. If anything, these overt allusions to earlier music turn out to be a ruse, gradually becoming more and more strained and contorted, peppered with obsessive syllabic repetitions, brief garbled asides and startling chord clusters soaring overhead. The result came across not so much as a conflict of musical languages but as both a homage to and an expansion of an earlier idiom, conveying a personality that was both solemn and, here and there, quite tongue-in-cheek. It was easy to connect to music that sounded so personal. Read more

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Mixtape #38 : Organ

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The theme of the new 5:4 mixtape is one i’ve been wanting to explore for a long while: the organ. It’s an instrument with which i’ve had a pretty infatuated relationship since my teenage years, both as a listener and as a very occasional practitioner (organ was my second study alongside composition during my first degree, and for a few years i co-directed a church choir). People tend to have a certain idea of what they think organ music is like. People tend to be wrong. i hope this mixtape will go some way to illuminate what the organ is capable of, what it can be, when wielded with real imagination. As always, the mix consists of personal favourites, encompassing a pretty wide range of approaches to the instrument. i’ve structured the mix in four sections, each lasting roughly half an hour. Read more

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Mixtape #9 : Best of 2008

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Today 5:4 is one year old, and to celebrate that—and continue the celebration of the best albums of last year, here’s a new mixtape, featuring tracks from each of those albums. Not surprisingly, it’s the most eclectic mix so far, and also the longest, just a few seconds shy of 3 hours. Start 2009 with the best of 2008—enjoy!

Here’s the tracklisting in full: Read more

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Best Albums of 2008

Posted on by 5:4 in Best of the Year | 8 Comments
* Please note this list has how been superseded by the one on the Best Albums of the Years page *

It’s been difficult deciding what i feel are the best albums of 2008. Partly, because i’ve listened to so many (of the 667 albums i’ve listened to this year, 141 of them were released in 2008), but also because i’m conscious of a number of albums that i haven’t yet listened to, and which could well appear in this list. Anyhow, all lists of this kind are provisional, so as things stand today, here are the 5:4 Best Albums of 2008: Read more

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