i wrote in Part 1 about the warm, inviting and relaxing atmosphere that pervaded each of the concerts at Borealis 2022. Establishing this kind of environment for audiences is vital, for two important reasons. First, because any festival that claims itself to be, as Borealis explicitly does, “for experimental music”…
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Catherine Lamb
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A very Happy New Year to you all! As always, i want to begin 2021 by thanking all of you around the world who have followed and supported 5:4 during the last year, most especially and above all to my growing number of esteemed and beloved Patrons. i don’t think…
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It’s something of a relief knowing that this year, finally, is poised to become a memory, consigned to history. But before it does, here’s the second part of my 40 Best Albums of 2020, each of which has wonderfully demonstrated that this year has had a lot more going for…
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Back in 2017, when writing about the fifth and, at the time, latest in Catherine Lamb‘s ongoing series Prisma Interius, i talked a lot about consonance and dissonance, the way that its pitches began life around a central point from which they emerged and split off, ultimately creating a harmonic…
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Happy New Year! i want to start this year by expressing my heartfelt thanks to all of you who have followed and supported 5:4 in the last year, particularly my delectable band of Patrons. Hot on the heels of my Best Albums of 2019 list, i’m beginning 2020 with the…
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With only a couple of days left until 2019 comes to an end, it’s that time once again to take stock and celebrate the great and the good albums that have been tickling my eardrums in the most beguiling way this year. Just before that, though, it’s perhaps worth stating…
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I am interested in the long introduction (unfolding) form, in elemental tonal interaction, in aggregation and augmentation, in liminal perceptual states, shifts in density, the filtered atmosphere, and intense, focused experiences. This is how US composer Catherine Lamb summarised her music to me in 2017. On that occasion, they served…
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FestivalsPremières
Proms 2017: Missy Mazzoli – Sinfonia (for Orbiting Spheres) (European Première); Catherine Lamb – Prisma Interius V; Emilie Levienaise-Farrouch – The Minutes (World Premières)
by 5:4The last three Proms premières, though very different in some respects, shared some important things in common. All of them, Sinfonia (for Orbiting Spheres) by Missy Mazzoli, Prisma Interius V by Catherine Lamb and The Minutes by Emilie Levienaise-Farrouch, eschew silence and focus primarily on harmonic movement – or, more specifically,…
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Concert halls be damned! Tonight the Proms makes another of its peripatetic excursions beyond the confines of the Royal Albert Hall, paying a first visit to The Tanks at Tate Modern. Among the music being performed will be the world première of Prisma Interius V by experimental American composer Catherine Lamb.…