Ultima2019

Ultima 2019 (Part 2)

Posted on by 5:4 in Festivals, Premières | Leave a comment

A golden rule in cinema is “show, don’t tell”, reminding the director it’s invariably more subtle and effective to avoid directly stating the things you want the audience to consider and instead to incorporate them into the medium itself, in the process allowing for a more subtle, rich and wide-ranging interpretation of meaning. Following on from my considerations yesterday about the relationship between music and images, the latter of which had had a damaging effect on the former in some of the works performed at this year’s Ultima festival, i wonder whether an inverse of that rule would work well in music: “tell, don’t show” – tell us in sound the things you want to say, don’t put them up explicitly in front of us as words or images. To this end, the works that made the deepest and most profound impact during Ultima’s opening weekend were ones that sidestepped visual stimuli and engaged directly with the invisible and the intangible. Read more

Tags: , , , , , , , , , ,

Ultima 2019 (Part 1)

Posted on by 5:4 in Festivals, Premières | Leave a comment

When you listen to music what do you see? What does music look like, and what do images sound like? What’s the relationship between musical and visual stimuli? These questions became something of a recurring consideration during the three days of concerts i attended recently during the opening weekend of the 2019 Ultima festival in Oslo. To be more specific, these questions were caused by the prevalence of visual elements incorporated into many of the pieces being performed. While in some cases the music was enhanced, elsewhere it proved a great deal more problematic.

The most egregious example unfortunately came on the festival’s opening night, at a concert in the city’s grand Konserthus devoted to just a single piece, the world première of Lyden av Arktis (Sound of the Arctic) by Lasse Thoresen. Even before the Arctic Philharmonic began to play, issues were already raising themselves. Thoresen had provided not so much a programme note as an extensive blow-by-blow account of each and every detail of its highly programmatic narrative, inspired by and seeking to depict aspects of Arctic landscape, nature, experience and heritage. Quite apart from the fact that this is the worst possible form of programme note – effectively telling the listener (spoiler alert!) what they should be listening out for and how it should all be interpreted – the only meaningful way to have engaged properly with its tl;dr contents would have been to follow along with the text during the performance, which in the darkened hall would in any case have been impossible. Read more

Tags: , , , , , ,