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HCMF revisited: Laurence Crane – Movement for 10 musicians

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One of the awkward aspects of attending the Huddersfield Contemporary Music Festival arises from the fact that, when choosing which concerts to attend, there’s an unavoidable fear that one will inevitably miss something fantastically memorable and/or stunningly ground-breaking. The next piece in my HCMF revisitings is a case in point, from a concert i ended up kicking myself for missing in 2013. The work began life in 2002 as Movement for Ensemble, composed for Dutch ensemble Orkest de Ereprijs who presented it at that year’s Gaudeamus Music Week. The following year another Dutch group, The Ives Ensemble, commissioned a slimmed-down version of the piece for a series of performances in conjunction with Rotterdam Dance Works, whereupon it became Movement for 10 musicians.

The entire piece is made from just three very basic ideas:

  • three chords, rising up a scale, emphasising the interval of a 6th, over a sustained pitch;
  • two chords, falling a semitone, with shared pivot notes;
  • a two-octave rising diatonic scale, in octaves, over a sustained pitch.

It unfolds like a cross between Ravel’s Bolero and Howard Skempton’s Lento. Crane repeats the first two of these ideas numerous times in groups of 2, 4 and 6, but despite how obvious these repetitions are, and the structural blocks they form, the piece is not first and foremost about this. Harmony is what ultimately demarcates the work’s overall structure, which falls broadly into four sections. Crane positions the music at a cadential liminal point, founded upon a tonality of E – floating between major and minor – with regular suspended fourths and sevenths that push and tilt it towards the key of A. Three of the work’s four sections do actually end with this cadence, though the way the chord of A is rendered – enriched with sevenths and ninths, but lacking a major or minor third – lends it both a harmonic conviction and neutrality that are entirely in keeping with the tonal fluidity that pervades the piece. 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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Monty Adkins – Shadows and Reflections

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An interesting aspect of what i’ve been calling ‘steady statism‘ is the relationship it has with the idea of stasis. What is a musical stasis? Considering that music unfolds in time, isn’t it an oxymoronic idea? Furthermore, is such a hypothetical stasis intentional (objective) or perceptional (subjective) – or both? When writing about Markus Reuter’s Falling for Ascension, i remarked about one of the fundamental characteristics of steady statism: behavioural stasis, where the music changes over time but its underlying mode of operation – the compositional processes that lead to the musical material – remains essentially static, a system out of which musical outcomes emerge. More recently, i’ve been reflecting on the other kind, perceptional stases, where the emphasis is on extreme stillness of utterance, which may or may not be (or appear to be) the product of a behavioural stasis.

A striking example of this can be heard on Monty AdkinsShadows and Reflections, released a couple of months ago on the Crónica label. This album was one i’d been anticipating for a while; Adkins spoke about it briefly during the Dialogue we recorded together in the spring, explaining how it was inspired in part by the process of painter Gerhard Richter:

…it’s the way in which he chooses certain types of colours on his squeegee, and then draws them very slowly down the canvas. So one of the things i’ve been working on recently is how you could actually compose very short fragments of material and then slow them down, and then, as he does, layer them on top of one another. So i’ve just finished a long, 40-minute piece, and that piece is made up of six three-minute pieces, and what I did was slow those pieces down, just as Richter would take very specific parts of the paint, and then slowly draw those across and add extra layers on the canvas. So that piece was drawn out of the technique of his paintings. [… It has] no gesture in it at all, which is quite unusual for me […] it does go somewhere but it’s pushing that to the absolute extreme: out of forty minutes, the main thing happens at thirty-two minutes. And I find, [when] you get to that point, there’s almost a sense of ecstasy.

This latter aspect is a familiar Adkins trope, one i’ve remarked upon numerous times previously, where the timing of a gesture or sound is not merely pivotal but transformative, making one reappraise much if not all that went before. But my anticipation for Shadows and Reflections was particularly piqued by the idea of it being essentially bereft of gesture, suggesting an altogether more ‘flat’ sonic journey. Read more

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Haunted but undaunted, fading yet indefatigable: The Caretaker – Everywhere at the end of time – Stages 2 & 3

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Appropriately enough, considering this evening is Hallowe’en, i began today being haunted by ghosts. To explain: in the early hours, not sufficiently drowsy to return to sleep yet too somnolent even to begin contemplating getting out of bed, i grabbed my headphones and groped blearily on my device for something to listen to. As it turned out, these peculiar, potentially unpromising conditions could hardly have been more perfect for the album that my fingers alighted on: Everywhere at the end of time – Stage 3 by Leyland Kirby’s occasional pseudonym The Caretaker, released a couple of weeks ago. As the title suggests, the work is the latest in Kirby’s ongoing project exploring aspects of memory and dementia.

Much of the music put out over the last ten-or-so years that one might broadly describe as hauntological is problematic. Born from an apparent wave of retromaniacal enthusiasm for tapping into the supposedly mysterious darkness and sinister undertones of an ill-defined ‘past’ (some of which only appear sinister from a contemporary perspective; they never seemed such at the time), the results often comport themselves as ersatz memoradelic mash-ups, counterfeit, superficial musical worlds fashioned from borrowed tropes and mannerisms. It’s cheap and it’s childish, and while there’s no need to name specific names, the Ghost Box Records label has a lot to answer for in fostering it. There are exceptions, of course, lots of them, but what sets Leyland Kirby’s work so far above and beyond almost everything else done in hauntology’s name is its authenticity.

i first got to know Kirby’s music in the mid-2000s, first through Theoretically pure anterograde amnesia, his dazzling 3-hour 2005 survey of disintegrated sonic echoes, consolidated the following year in his gigantic project The Death of Rave (about which i’ve written previously), a 19-hour “audio soup of half remembered rave anthems” that through its seemingly never-ending sequence of noise-caked movements encapsulated an era by channelling subliminal, subconscious and submerged musical memories. Personally speaking, The Death of Rave was a turning point in my relationship with Kirby’s music in two respects. Read more

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Proms 2017: Hannah Kendall – The Spark Catchers (World Première)

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The latest orchestral work by British composer Hannah Kendall received its first performance a couple of nights ago at a late night Prom given by Chineke! Orchestra, the flagship orchestra of the Chineke! Foundation, established a couple of years ago “to provide career opportunities to young Black and Minority Ethnic (BME) classical musicians in the UK and Europe”. As she described in her answers to my pre-première questions, her new piece The Spark Catchers takes its inspiration and title from a poem by Lemn Sissay. The text pays homage to the London matchgirls who in 1888 went on strike in protest at their long hours, meagre pay and dangerous working conditions, involving serious, potentially fatal, risks to their health. Throughout the poem, Sissay plays on the triple-meaning of the word ‘strike’, alluding to the industrial action as well as the motion that causes matches to ignite (in hindsight, i wonder whether ‘Strike’ would have been an even more suitable title for Kendall’s piece), but most specifically the call that went up in the factory when a loose spark shot out, threatening to set everything ablaze, whereupon one of the women would leap to catch the spark before it could touch anything. Requiring a remarkable combination of reflexes and dexterity, Sissay praises “the magnificent grace / The skill it took, the pirouette in mid air / The precision, perfection and the peace.” Read more

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Proms 2017: pre-première questions with Hannah Kendall

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Today’s late-evening Prom given by the Chineke! orchestra opens with a new work by British composer Hannah Kendall, titled The Spark Catchers. In preparation, here are Kendall’s answers to my pre-première questions, together with the work’s programme note. Many thanks to Hannah for her answers. Read more

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Proms 2017: Mark-Anthony Turnage – Hibiki (European première)

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The music of Mark-Anthony Turnage has been on my mind quite a bit of late. i’ve been revisiting my aged CD of his seminal work Three Screaming Popes, released 25 years ago, which was also the first piece of Turnage’s i ever heard performed live, during my undergrad days in Birmingham. Thanks to Simon Rattle, during that time there were lots of opportunities to hear Turnage’s music, and the abiding impression i got was of a composer committed first and foremost to lyricism. Of a smoky, earthy hue, to be sure, and at times downright caustic in nature, but equally capable of astonishing tenderness and beauty. Borrowing liberally from blues and jazz, and often characterised with improvisatory élan, Turnage – i still mean early Turnage – made us re-think what melody was, in a way that was simultaneously rooted in layers of compositional tradition and performance practice yet so fresh and pungent as to be shocking (literally; i can still vividly remember the shock i felt in those long-ago concerts).

These qualities have hardly deserted Turnage over the years, though there are times when it’s seemed he’s more interested in rhythm than melody, particularly in two of his demonstrably less successful Proms premières, Hammered Out and Canon Fever. That path seems to lead Turnage only to empty bombast and pastiche, whereas when his lyrical side predominates – as in the recent string quartet Contusion, and even more in his wondrous 2012 orchestral work Speranza – the results are overwhelmingly powerful. This is also what we find in Turnage’s Hibiki, which received its first European performance at the Proms a little over a week ago. Hibiki was commissioned by Tokyo’s Suntory Hall to mark their 30th anniversary. Turnage conceived the work as “a consolation following loss” in the wake of the disastrous tsunami that struck the country after the 2011 Tōhoku earthquake, causing enormous damage and meltdowns at three reactors at the Fukushima nuclear power plant. Read more

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