Richard Craig

Recognition, raw ambition and raw power: Alba New Music 2017

Posted on by 5:4 in Concerts | Leave a comment

Last weekend brought the welcome return of Alba New Music, Edinburgh’s nascent new music festival. Having got the ball rolling with a bang last year, the 2017 festival as a whole felt more focused, in part due to deliberately having something of a thematic thread running through it. With an emphasis on Brian Ferneyhough, featuring two of his electroacoustic works – Time & Motion Study II and Mnemosyne – that thread might appear to be simply about memory, but was actually more nuanced (and less passive) than that, above all emphasising recognition. This is the key to both those pieces, and it was also fundamental to some of the other music heard throughout the festival.

It’s forty years since Time & Motion Study II for cello and electronics was first unleashed on the world, but it’s also ten years since Neil Heyde and Paul Archbold released their DVD of the work (now available for free download via iTunes). There’s no such thing as a ‘definitive’ performance of any piece, of course, yet personally speaking, i’ve come to regard Heyde and Archbold as having got so inside the essence – technical, psychological, emotional – of this particular work that since 2007 i’ve come to think of them as its most ‘authentic’ mouthpiece. Their Friday evening performance – in the stark but attractive space of the City of Edinburgh Methodist Church (an ideal locale for new music concerts) – only confirmed that assessment. It’s worth noting that the reputation of this piece (underlined by the fact that Ferneyhough considered titling it ‘Electric Chair Music’) results in one expecting violence—and only violence. Yet as in so many of his works, much of the music is highly lyrical, albeit often strained and plaintive. Furthermore, there’s something ghostly – literally, quasi-paranormal – about the way parts of the cello’s material are retained and broadcast back, materialising as if from nowhere at both a physical and temporal distance from the soloist. Watching Heyde and Archbold in action, i initially found myself anxiously pondering whether the performance was too slick, too accomplished, whether they’d even managed to make Time & Motion Study II seem (dare i say it) easy. Certainly by the time the piece arrived at its brilliant and beautiful episode of near-stasis, sustained pitches resonating from cello and electronics in apparent sublime sympathy, its reputation felt distant, almost forgotten. Yet all this is a trap, one that Ferneyhough lays and which Heyde and Archbold executed with almost insouciant ease. Now, the violence: and immediately the enormous technical difficulties of the work became utmost apparent, Heyde caught up in an epic struggle, fighting against pretty much everything: his material, the electronics, his instrument, his very self. The angry vocalisations, heavily distorted, only made the violence more desperate and intense. Few works leave an audience as stunned, drained and exhausted as its performers, but Time & Motion Study II still has that power. It felt hard to find the energy even simply to applaud. Read more

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CD roundup (concertante)

Posted on by 5:4 in CD/Digital releases | 2 Comments

Judging by the majority of CDs that have been sent to me recently, contemporary music is seeing a surge in recordings of works highlighting solo instruments. The collection i have received occupies different regions of the avant garde, from the most familiar and accessible to its forbidding outer fringes. Somewhere in between, yet the most impenetrable of them all, is James Erber‘s ‘Traces’ cycle for solo flute, released by Convivium Records. Erber has long struck me as a kind of non-mainstream Alexander Goehr, in that his music is always rigorously argued, its logic unassailable (a point Erber has always hammered home via his voluble essays and programme notes), yet never really opening itself up to allow the listener in. In short, its intellectual prowess crowds out its emotional potential, and in this respect the ‘Traces’ cycle is no different. There’s greatest interest to be found in the first of the three movements, where a low, increasingly rhythmic element makes incursions into the music’s ongoing melodic thrust (involving some nice fluttertongue writing and, after its fraught high point, some enigmatic ruminative finger tapping). But the second and third movements ramp up the intensity such that it becomes relentless, demonstrating an unstoppable, determined conviction that ends up nullifying both the effect and the interest. A curious extended stasis towards the end, involving soft high notes, is a welcome break, but the piece is no less inscrutable for it. In many ways, the trio of smaller works on the disc make a much stronger impact, but strongest of all is flautist Matteo Cesari‘s playing; it may be hard to decode Erber’s code, but Cesari does at least ensure its intricacies are presented with utmost clarity. Read more

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