I never did spot that be-scarfed frantic scribbler at the Dillon gig, probably because, as predicted, I ended up having to sneak in late to the talk, right at the back. Ne’er mind.
As for the piece itself, maybe it was because its essential stillness provided respite from an otherwise fraught day, and it was definitely notwithstanding the fact that I too found Dillon’s treatment of the text(s) inexplicable, but for me it was compelling from beginning to end. Never have I been more surprised on discovering the passing of 80 minutes.
Actually, confession time – that isn’t the whole truth: I spent a couple of minutes after the concert shuffling about awkwardly in the vicinity of someone I think might have been you, but in the end bottled it because I couldn’t be sure and didn’t want to make a fool of myself and/or come across as some weird stalker, and also because you were with some other people and I felt I might be intruding.
Chris L
10 years ago
Just to add: the closest comparator I could think of, listening to it, was Nono’s Prometeo.
alan munro
10 years ago
Sorry to disagree Simon, i loved the piece and am already making plans to visit London for the second performance. I found some of the vocal music similar to Viriditas in Nine Rivers and for sheer sensuality passages reminded me of La femme invisible. This was some of the most sensual and erotic music i have heard also puzzling and perplexing at times but i was profoundly moved AND disturbed by the material. There is a review in The Guardian but not the Telegraph. I shall be back in Huddersfield this weekend.
I welcome you disagreeing, Alan! Although, I have to say, your response seems a very generous one, but then I know how much of an über-fan of Dillon’s work you are. Viriditas came to my mind too; I’d have liked Stabat mater dolorosa to have had some of its cogency. I’ll definitely listen again, but I’ll stick with Radio 3’s broadcast; you’ll have to let me know how the London performance compares.
John Prokop
10 years ago
Will you be attending the semi-marathon concerts of Dillon’s string quartets that the Ardittis will be presenting on 30/11? (And BBC3 jolly well better be presenting these gigs in subsequent “Here and Now” programs!)
Say it ain’t so, Joe! Say it ain’t so. Well, BBC3 does have three more episodes from the Huddersfield in the next couple of weeks so there’s still a chance. If not, Aeon will get these released next year (in the same way they did with Arditti’s recent Ferneyhough, Gerhard and Dusapin sets).
i forgot to ask Dillon about this – we did discuss the quartets, and apparently there is a recording of the entire cycle tentatively planned (having been previously postponed)…
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I never did spot that be-scarfed frantic scribbler at the Dillon gig, probably because, as predicted, I ended up having to sneak in late to the talk, right at the back. Ne’er mind.
As for the piece itself, maybe it was because its essential stillness provided respite from an otherwise fraught day, and it was definitely notwithstanding the fact that I too found Dillon’s treatment of the text(s) inexplicable, but for me it was compelling from beginning to end. Never have I been more surprised on discovering the passing of 80 minutes.
Actually, confession time – that isn’t the whole truth: I spent a couple of minutes after the concert shuffling about awkwardly in the vicinity of someone I think might have been you, but in the end bottled it because I couldn’t be sure and didn’t want to make a fool of myself and/or come across as some weird stalker, and also because you were with some other people and I felt I might be intruding.
Just to add: the closest comparator I could think of, listening to it, was Nono’s Prometeo.
Sorry to disagree Simon, i loved the piece and am already making plans to visit London for the second performance. I found some of the vocal music similar to Viriditas in Nine Rivers and for sheer sensuality passages reminded me of La femme invisible. This was some of the most sensual and erotic music i have heard also puzzling and perplexing at times but i was profoundly moved AND disturbed by the material. There is a review in The Guardian but not the Telegraph. I shall be back in Huddersfield this weekend.
I welcome you disagreeing, Alan! Although, I have to say, your response seems a very generous one, but then I know how much of an über-fan of Dillon’s work you are. Viriditas came to my mind too; I’d have liked Stabat mater dolorosa to have had some of its cogency. I’ll definitely listen again, but I’ll stick with Radio 3’s broadcast; you’ll have to let me know how the London performance compares.
Will you be attending the semi-marathon concerts of Dillon’s string quartets that the Ardittis will be presenting on 30/11? (And BBC3 jolly well better be presenting these gigs in subsequent “Here and Now” programs!)
Yes—and i did!
(But you’ll be sad to hear no recording was made of the quartets…)
Say it ain’t so, Joe! Say it ain’t so. Well, BBC3 does have three more episodes from the Huddersfield in the next couple of weeks so there’s still a chance. If not, Aeon will get these released next year (in the same way they did with Arditti’s recent Ferneyhough, Gerhard and Dusapin sets).
Is a recording planned?
i forgot to ask Dillon about this – we did discuss the quartets, and apparently there is a recording of the entire cycle tentatively planned (having been previously postponed)…