Today’s afternoon concerts occupied opposite ends of a number of musical continua, the most obvious being dynamic. At the quiet end, in St Paul’s Hall, were the Bozzini Quartet with music by HCMF resident composer Jürg Frey; at the loud end, fighting the prevailing chill in Bates Mill Blending Shed, were Ensemble Phoenix Basel performing works by Robert Piotrowicz and Alex Buess. Let’s start with the loud.
It was very strange. Buess and Piotrowicz were represented by two works each, and with both composers it was if they destroyed their reputation with the first piece, only to re-establish it again with the second. In the case of Alex Buess‘ 2003 work KHAT, for bass flute and percussion with live electronics, it was a messy, unkempt affair, the pair of performers seemingly occupied with completely different compositions simultaneously, while with the electronics, one can only hope (but at the same time wonder why) the intention was to sound clunky and awkward; as it was, it sounded like someone arbitrarily testing a load of presets. In all these respects it was immensely dull, but once you factored in the very high volume levels (causing numerous people to move further to the back), it became a major irritation. But then came VORTEX_V1.01, composed in 2009 for bass flute, piano, percussion and electronics, a work that was extremely tautly-managed to exhilarating effect. Almost all of the sounds in the piece are either entirely pitchless or sufficiently modulated by different articulations that their pitch content becomes obscured, meaning that in essence Buess is playing with noise-based materials. These are arranged, in highly dramatic fashion, into tight formulations of imitation, complement, riposte, antagonism and the like, both between the players on stage and between them all and the live electronic elements. Clarity emerges gradually from a more amorphous genesis, but structurally VORTEX_V1.01 ultimately proves itself to be very strong, loud and overpowering (never excessively, but still practically abrading the audience from all sides) with some genuinely dazzling climaxes, concluding in a wonderful stop-start finale, blasts of sound alternating with softer detailing.
This evening’s (rather poorly attended) concert given by the Bozzini Quartet featured a trio of works by composers from their native Canada. Of the three, Martin Arnold‘s Vault was the most straightforward, the quartet for the most part enunciating a single melodic line as a single musical body, united by material, rhythm, dynamic and mode of articulation. It would be pushing it to call it interesting exactly, although for a time there was something quite enchanting about hearing the undulations of the line handled so very quietly. However, the decision by so many bronchitic members of the audience to cough their guts up during the piece severely undermined its hold. Marc Sabat‘s Euler Lattice Spirals Scenery, receiving its UK première, explored “tuning differences between the untempered natural harmonics of the [quartet’s] 16 open strings”; using just intonation, this seemed to herald 25 minutes of microtonality, but Sabat’s emphasis is on just tuned triads, meaning that much of the piece sounded perfectly ordinary; the first movement underwent a gradual ascent to a high altitude where the unusual tunings, heard in gleaming harmonics, finally became obvious; the second movement initially answered this with a descent but its ultimate trajectory and purpose were very much harder to ascertain. Most striking of all was Nicole Lizée‘s Hitchcock Études, another UK première, where cut up sound fragments from a number of Hitchcock’s films—Psycho, The Man Who Knew Too Much and The Birds—form the basis for the quartet’s material. In some ways the music resembled parts of Steve Reich’s Different Trains, although Lizée was concerned more with musical phrases coming from repetitions of non-verbal sounds. Read more
Ordinarily, finding yourself traipsing along cold, dark, damp streets from concert to concert of cutting edge music, you’d expect the time to be late autumn and the place to be Huddersfield. Except this time it was the streets and venues of Bristol that were the focus of attention, for the inaugural Bristol New Music festival, three days packed with an impressively diverse line-up of the great and the downright remarkable. Bigging it up last week, i opined that it looked all set to become the HCMF of the south west, and there is, as it turns out, a connection, as Huddersfield supremo Graham McKenzie has provided what he described to me as “curatorial advice” in getting BNM up and running. Yet while in some ways his fingerprints could be detected all over the weekend, Bristol had an atmosphere and a vibe quite distinct to that of Huddersfield. It’s not insignificant, i think, that the word ‘new’ has been used in favour of ‘contemporary’, the latter carrying with it stronger connotations of the concert hall. BNM did have plenty of concerts taking place in familiar concert halls—the festival is, after all, a collaboration by five of Bristol’s principal venues: Arnolfini, the Colston Hall, St George’s, Spike Island and Bristol University—but more often than not, they either weren’t presented as, or didn’t feel like, familiar concert hall events. Often this was rather refreshing; sometimes, not so much. Read more
Tags: Bristol Ensemble
, Christian Wallumrød Ensemble
, Ensemble musikFabrik
, Gareth Davis
, John Butcher
, Mark Sanders
, Quatuor Bozzini
, Roly Porter
, University of Bristol New Music Ensemble