USA

Louth Contemporary Music Society: Silenzio Festival, Dundalk

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

In terms of outlook (non-partisan), commitment (total to the point of absurdity) and above all its track record during the last eleven (essentially unsung) years, Louth Contemporary Music Society unquestionably deserves to sit alongside the very best contemporary musical festivals. Its most recent, Silenzio, which took place last weekend in Dundalk, on Ireland’s east coast, only cements that fact yet more solidly. The focus on this occasion was the music of Salvatore Sciarrino – making his first appearance in Ireland – coupled with the world première of a substantial new work from Swiss composer Jürg Frey. At first glance, the pairing of Frey and Sciarrino seemed somewhat arbitrary, though as things turned out there was an unexpected aural connection in at least one piece (though it didn’t exactly work in either of their favours). The festival was once again populated by a spectacular collection of interpreters of contemporary music, including clarinettist Carol Robinson, flautist Matteo Cesari, Quartetto Prometeo, percussionist Simon Limbrick and Neue Vocalsolisten Stuttgart.

The festival began in the narrow confines of Dundalk Gaol with an evening of Jürg Frey’s music. It opened with As imperceptibly as grief, a setting for solo soprano of Emily Dickinson’s poem, and in hindsight it was this opening song that carried the greatest weight of the concert, though not due to anything radically different about its music. As one might have expected from Frey, the piece unfolded in a calm, unhurried manner. Initially, the space was ‘setup’ via the soprano – Hélène Fauchère, in a tour-de-force display of infinite control – slowly placing evenly-spaced quasi-isolated notes in the air. Two ‘parts’ were present: syllables of the text on one pitch, open vowels a semitone higher, an oscillation that soon became more melismatic. As in many of Frey’s pieces, it was permeated with a sense of profundity, one that was heightened by these moments of melisma. At one point in particular (before the text moved from the afternoon to dusk), the song became captivated in an extended ‘ooh’ episode that suggested pure ecstasy, as though Fauchère were caught in a private emotional reverie or possessed by a vision. On a more musical level, it displayed an intense enjoyment of sound itself, both its mere presence and its tangibility – tactility even – wanting to linger over its pitches as well as the movement between them. Read more

Tags: , , , , , , , , ,

Christian Wolff – Spring (UK Première)

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

Tomorrow is the summer solstice, which technically makes today the last day of spring. To bid farewell to the season, here’s a very interesting orchestral work titled Spring by US composer Christian Wolff. Composed in 1995, Spring was Wolff’s first orchestral piece, and in it he experimented with indeterminate elements, combining them with more conventionally notated and performed (i.e. conducted) music. Despite its title, there’s no extra-musical programme attached to the piece, and each of the four movements is unnamed. Despite its non-programmatic nature, though, Wolff is clearly engaging with existing musical materials with a view toward a kind of Ivesian mash-up as well as varying forms of obfuscation, disintegration and, perhaps, refinement. Maybe Wolff was wondering what might ‘spring’ forth from these processes of experimentation. There’s certainly more than a hint of alchemy to it all, which over the course of the four movements becomes intensified, with the results bearing a concomitantly less obvious connection to their source materials. Read more

Tags: , ,

Wittener Tage für neue Kammermusik 2017 (Part 3)

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

i mentioned in Part 1 that much of the music at this year’s Wittener Tage für neue Kammermusik was either for or revolved around the string quartet. But there was also a collection of works (including three i unfortunately missed due to not being able to stay for the final concert) composed for more diverse instrumental groupings. All of them packed the most almighty wallop, though in the case of Ondřej Adámek‘s Conséquences particulèrements blanches ou noires, one was left wondering whether the Czech composer really has anything new to say beyond wheeling out more iterations of his tired air machine. There’s more to his music than this machine, of course, though the puckish, flamboyant way Adámek utilises it – often clearly intended to be humorous – is by now exasperatingly over-familiar, and in any case, in this particular piece, the machine took centre stage – both musically and literally within the hall (something of a contrast to a piece like Korper und Seele, performed at Donauschingen in 2014, where it was for the most part used more peripherally). The overall tone came across like a movie created from nothing but a string of set pieces, with no narrative to string it all together. The relationship between the machine and the ensemble was essentially an imitative one, the latter picking up the blurts and farts of the former and turning them into a kind of avant-cartoon music. Yawn. Read more

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

Wittener Tage für neue Kammermusik 2017 (Part 2)

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

In the late evening of the Wittener Tage für neue Kammermusik‘s opening day, inside the town’s small but elegantly decorated Johanniskirche, the JACK Quartet gave the world premières of a pair of works of an entirely different disposition from that of Ferneyhough and Birtwistle, heard earlier that afternoon.

Italian-Swiss composer Oscar Bianchi‘s Pathos of Distance essentially re-programs the string quartet such that the cello becomes a conspicuous rogue element. Through a mixture of whirling, clicking, whirring and croaking wald teufels (a.k.a. forest devils or, most appropriately, frog callers) and more protracted, harmonic- and tremolando-laden bowed materials, the upper strings were clearly well-disposed to work together, sharing and imitating. Whereas the cello – visually enhanced by Kevin McFarland’s unique attire, jacket-less with shirt sleeves rolled up – took on the role of ‘bovver boy’, grinding, twanging, buzzing and poinging his strings, de- and re-tuning them, often situated four or five octaves below the rest. Both the exploration of this relationship – which did vary, and at times all four players were clearly united – as well as Bianchi’s intricate and imaginative textural narrative were engrossing, right up until the somewhat ritualistic final minutes, including a wave of ‘roars’, a viola and cello duet (the viola now also detuned, and played with a cello bow!) and a concluding flurry of ratcheting. Thoroughly immersive and, in the best possible sense, entertaining. Read more

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

Amber Priestley – floors are flowers — take a few

Posted on by 5:4 in Lent Series | Leave a comment

i’m ending this year’s Lent series with a beautifully weird little piece by USA-born, UK-based composer Amber Priestley. The work takes its title – floors are flowers — take a few – from an equally short poem by US poet Shel Silverstein, ‘Enter This Deserted House’:

But please walk softly as you do.
Frogs dwell here and crickets too.

Ain’t no ceiling, only blue.
Jays dwell here and sunbeams too.

Floors are flowers – take a few
Ferns grow here and daisies too.

Swoosh, whoosh – too-whit, too-woo
Bats dwell here and hoot owls too.

Ha-ha-ha, hee-hee, hoo-hoooo,
Gnomes dwell here and goblins too.

And my child, I thought you knew
I dwell here… and so do you.

Read more

Tags: ,

Morton Feldman – Madame Press Died Last Week at Ninety

Posted on by 5:4 in Lent Series | 1 Comment

To begin the final week of my Lent Series, i’m turning to a curious little miniature by Morton Feldman. Composed in 1970, Madame Press Died Last Week at Ninety is a work for a small, unusual ensemble of 2 flutes, horn, trumpet, trombone, tuba, celesta, bells, 2 cellos and 2 double basses. The titular dedicatee, Vera Maurina-Press, was in fact Feldman’s childhood piano teacher (from the age of 12), about whom he spoke very affectionately in a short essay from the early 1960s: “It was because of her – only, I think, because she was not a disciplinarian – that I was instilled with a sort of vibrant musicality rather than musicianship.” And a decade later, his warmth for her remained strong: “Radical composer, they say. But you see I have always had this big sense of history, the feeling of tradition, continuity. With Mme. Press at twelve, I was in touch with Scriabin, and thus with Chopin. With Busoni and thus with Liszt. . . . They are not dead.”

Read more

Tags: , ,

Beguiling/bemusing, pretentious/profound: the continuing challenge of Wandelweiser

Posted on by 5:4 in CD/Digital releases | Leave a comment

There’s a lot of music that i don’t write about. That’s kind of an obvious, even stupid thing to say: what i mean is that there’s a lot of music that i listen to that i don’t then write about. Invariably it’s due to some fundamentally problematic aspect that makes recommending it to others less of a necessity than a slightly cruel prank. Before i continue (and momentarily to digress), i must stress that i generally avoid thinking of composers in terms of trends, ‘schools’, ‘isms’ and other group terms that bundle them together due to some spurious connection, but considering the particular composers i’m writing about today have deliberately grouped themselves together, it seems appropriate to regard them in that way. To continue then: Wandelweiser. There’s a lot of Wandelweiser that i’ve listened to that i haven’t written about. A lot. And this fact has strangely been gnawing away at me recently as i’ve been pondering the latest batch of CD releases to have come from the Wandelweiser stable. To be fair to myself, i haven’t avoided them entirely: before HCMF 2015—at which Jürg Frey was composer-in-residence—i examined some of the then recent output from both him and a couple of other Wandelweiser composers, and there’s been a sprinkling of subsequent encounters, all i now realise also in conjunction with events going on at Huddersfield. This belies the fact that i have actually listened to an immense amount of their output, and it struck me recently that, instead of avoiding writing about it due to the conflicted reactions it so often engenders, perhaps that’s a worthwhile, even an important subject worthy of discussion in and of itself. Read more

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