piano

Estonian Music Days 2018 (Part 2)

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One of the defining features of the Estonian Music Days is its openness to including decidedly unconventional concert situations. Last year’s Obscure Avenues, a two-hour experience during which we were blindfolded and led around to various performance spaces, remains among the most radical and memorable musical encounters i’ve ever experienced, and while the 2018 festival perhaps wisely didn’t attempt to top that, it had its fare share of surprises.

The opening night of the festival saw Flame Sounds, a short open-air performance from composer Liisa Hirsch with Australian fire artist Chris Blaze McCarthy. Surrounded by four microphones, Blaze acrobatically wielded a succession of implements – a mixture of bars and chains – that almost looked as if they’d been borrowed from Tallinn’s museum of mediaeval torture instruments, each one burning in a unique way. These were the basis for Blaze’s physical choreography, with Hirsch in turn capturing and processing the sounds into a network of billowing noise formations, projected out via four speakers surrounding where we were standing. Considering this was part of a music festival, it was a shame that the emphasis was almost entirely on Blaze’s actions rather than on Hirsch’s sonic results – Blaze abruptly moved on throughout, despite Hirsch’s music continuing – making for a frustrating, though visually exciting, performance. But what we experienced nonetheless made an interesting connection with the festival theme of ‘sacred’, elusive sounds emerging from the merest contact of fire and air. Read more

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Rebecca Saunders on record (Part 4)

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Rebecca Saunders at 50Before i conclude my survey of the available recordings of Rebecca Saunders‘ music, i want to flag up some omissions. There are three works that i’m not able to discuss at this point as i haven’t yet got hold of copies of the discs on which they’re featured: rubricare (2005) which is on Harmonia Mundi’s About Baroque double album, as well as CRIMSON – Molly’s Song 1 (1995) and company (2008), included on the 1996 and 2008 Wittener Tage für neue Kammermusik CDs. If and when i eventually obtain these discs, i’ll review them together at a later date. There’s also one other piece of hers that’s been released very recently, which i’ll be discussing in my final article in this Lent Series.

Saunders’ earliest acknowledged composition is Behind the Velvet Curtain, a work for trumpet, piano, harp and cello completed in 1992, available on a recording by – yet again – Ensemble Musikfabrik, as part of the Musik In Deutschland 1950–2000 series. There’s something sketch-like about the piece, almost a kind of testing of certain ideas – ideas that would turn out to have great significance in her work – in order to experiment with their behaviour and operation. The most obviously nascent idea exhibited by the piece is an emphasis on certain pitches, acting as roaming focal points which the four players continually follow and assemble around. There’s a playfulness about this, with each shift in the focus being initiated – ‘suggested’ might be a better word in most cases – by one of the players, becoming the basis for a short episode of varying clarity. Read more

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

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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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Proms 2017: Julian Anderson – The Imaginary Museum (World Première)

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Last autumn, at the Royal Musical Association’s annual conference, composer Julian Anderson presented a paper addressing what he described as “the problem of professionals involved in modern music denigrating and otherwise attempting to devalue the music they are supposed to support”. The paper – which unfortunately i’ve not yet been able to read (anyone have a copy?) – was titled ‘Selling Ourselves Short: Inturned aggression and group self-contempt in the modern music sector since 1973’. As it happens, i was born in 1973, and while i doubt Anderson had myself in his sights, after i’ve written the following review, i suspect he may well do.

His new piano concerto, The Imaginary Museum, was given its world première at Wednesday’s Prom by Steven Osborne with the BBC Scottish Symphony Orchestra, conducted by Ilan Volkov. Cast in six movements and lasting around 25 minutes, the piece is by far one of the most insubstantial and ineffectual bouts of professional noodling masquerading as music that i have ever encountered. Read more

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Cheltenham Music Festival 2017: Love Songs

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Last night saw the second concert of this year’s Cheltenham Music Festival to be almost completely devoted to contemporary music. i described the previous one, with E STuudio Youth Choir, as being “a mixed bag of confections”, and the same applies to this event, a piano recital titled ‘Love Songs’ by William Howard. The location and context were perfect: the Pillar Room in Cheltenham’s grand Town Hall, a relaxed space that, following a sweltering day, throbbed with humid heat.

Howard has commissioned an assortment of composers to write short works that could be described as love songs, but a couple of points about the outlook of this project are immediately problematic. First, Howard makes some decidedly odd introductory remarks, claiming that, due to the associations of the ‘song without words’ form with the Romantic era, to “commission a piano love song from a living composer might seem eccentric, or, in the case of a composer who writes abstract music, a meaningless or impossible challenge”. This was backed up by composer David Matthews’ programme note, which alleges that the “Romantic musical language of the 19th and early 20th centuries was ideally suited to the love song, far more than the various languages of our own day”. Both of these statements are the rankest fallacious nonsense. The expression of love, i would venture to aver, has been around for rather longer than the brief Romantic era, and does not have to come pre-packed with its aesthetic, style, manner and content already determined; when it does, it’s as impersonal and generic as a Hallmark™ greeting card. Second – and in light of the first point, this becomes more understandable – the range of composers chosen by Howard, though diverse, is demonstrably conservative in style, and while this is not a slight on any particular composer featured, it does a disservice to the much wider range of composers working today who presumably find no difficulty in being of a more ‘abstract’ musical disposition while still being able to both experience and express love. Read more

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Michael Finnissy at 70: A Metier Retrospective – Part 3. Piano music

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It’s only a few days until Michael Finnissy‘s 70th birthday year comes to an end, so in the nick of time, here’s the final part of my retrospective of his music released by his most loyal label, Metier. In turning to the piano music, i’m conscious that, to some extent, i’m setting myself up for failure. The piano is of such massive, fundamental significance to Finnissy – his website lists 172 works for the instrument, more than half his entire output – that to engage with this music meaningfully would require many more thousands of words than i can devote to them on this occasion. By my own admission, then, never will a surface have been so barely scratched. But it doesn’t take much more than a scratch to start uncovering a wealth of inspirations – musical, philosophical, political, sexual, ideological, technical – teeming within these works to an extent that, even for Finnissy, is startlingly extensive. There is, initially at least, something overwhelmingly daunting about this, yet it would be a mistake to regard Finnissy’s piano output as so many multi-faceted puzzles that can only be ‘got’ once all of their extrinsic influences have been grasped, parsed and assimilated. Nothing, i would venture, could be further from the truth: without wishing to put words into the composer’s mouth, i have little doubt that the notion of his music as some kind of ‘test’ would be completely anathema to Finnissy. Besides, all of them – without fail – communicate themselves with an immediacy and power that sets them apart both within his own output as well as from the majority of 20th and 21st century piano-writing. They can be enjoyed at surface level and also in the rich, subterranean layers of inspiration that lie beneath. To me, Finnissy’s piano music seems not unlike a kind of archaeological artefact: the more one goes digging, the more unexpected delights are to be discovered.

Metier has released four albums of the piano works, which doesn’t sound like a lot but they nonetheless constitute over ten hours of music, including some of Finnissy’s most important works for the instrument. Released over a period of fifteen years, these releases successively grow in terms of both scope and duration. All but one of them are performed by arguably the composer’s most definitive interpreter, pianist Ian Pace. Read more

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Howard Skempton – Piano Concerto (World Première)

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Another interesting première from 2016, also performed at the Tectonics festival, also for piano and orchestra, also featuring John Tilbury as soloist, is Howard Skempton‘s Piano Concerto. This is a work that i’ve been more than usually interested to hear. In conversations throughout the last couple of years, Howard has talked about this piece with me on numerous occasions, though his marvellously inscrutable way of describing it meant that, beyond knowing there was a Stravinsky connection, and that 12-note ideas were not unimportant, the piece remained pretty much a mystery. In fact, it turns out the link to Stravinsky is a big one, organisationally: Skempton has modelled his concerto on Stravinsky’s Movements for Piano and Orchestra, both by structuring the work in five short movements and also by utilising virtually the same instrumentation (substituting a second bassoon for Stravinsky’s clarinet, adding a pair of horns and ditching the harp and celesta). Read more

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