Séverine Ballon

Davíð Brynjar Franzson – on Matter and Materiality (World Première)

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Without wishing to appear too biased towards the cello, the next concerto in my Lent series is another work that features that instrument at its epicentre. A few months back, i was enthusing about Davíð Brynjar Franzson‘s radical treatment of the piano; in his new work on Matter and Materiality, he puts the cello into an equally radical but altogether more gruelling context.

If the soloist can be described as not doing much, it’s certainly not for want of trying. It sounds as though Franzson has detuned the C-string down to a bottom D (a similar effect to that in Rebecca Saunders’ Solitude), and this note becomes the unwitting nadir of the cello’s repeated failed attempts to haul itself up or out or along. These attempts are expressed in a dogged series of grinding swells (orchestral colours can be barely glimpsed within them); ostensibly tinged with aggression, the instability of the cello’s timbre coats its pitch with spasmodic harmonics and overtones, exposing it as utmost fragile, all throbs and palpitations, music in dire need of defibrillation. Heavy bow pressure, far from obtaining some kind of solidity (or, considering the title, ‘materiality’), only undermines this fundamental further, causing it to waver and distort. Read more

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Liza Lim – Invisibility

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i was surprised to realise recently that, apart from a CD review last year, the penultimate composer in my Lent Series, Liza Lim, has not yet been featured on 5:4. That’s a pretty serious omission, one that i hope will be mitigated by celebrating her 2009 work for solo cello, Invisibility. Too many discussions about new music get distracted by the shedloads of technical tomfoolery encasing the music (frequently as a substitute for content, activity masquerading as achievement). In the case of Invisibility, however, one can only begin by examining a technical aspect of the work—but an aspect that informs the work at every level, from the exotic surface right down to its firmament. Read more

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HCMF 2013: Séverine Ballon

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

Today’s first concert was given by French cellist Séverine Ballon. Her recital comprised UK premières by Hèctor Parra and Mauro Lanza and a world première by Rebecca Saunders, together with a classic of the repertoire, James Dillon‘s Parjanya-Vata, composed in 1981. It was especially good to hear this again; it’s a long time since i have, and Ballon’s spectacularly fiery commitment to the work’s whirlwind climax left me wondering why i’d left it so long. Hèctor Parra’s electroacoustic tentatives de réalité is an exercise in frenetic action. Parra’s programme notes always go to great lengths to inform as to the extra-musical points of origin, but on this occasion intention and result seemed insufficiently interconnected. In short, one never felt as involved as Ballon clearly was. The material establishes a kind of monotony that wasn’t especially helped either by the nature of the electroacoustic interaction—cause and effect a-go-go—or by its sonic fingerprint, which in many ways felt like an amalgam or catalogue of a multitude of all too familiar tried and tested (and tired) ideas. Read more

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