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May/July 2019 – upcoming classical/experimental gigs – multimedia string quartet work – Solem Quartet in London, Liverpool and Manchester (2nd, 9th, 10th May); Kronos Quartet & Trevor Paglen’s ‘Sight Machine’ in London (11th July)

29 Apr

Some quick signal-boosing for those of you who might enjoy augmented string quartet music…

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Solem Quartet, 2nd/9th/10th May 2019“In the first of a brand new series, Solem Lates, the Solem Quartet present ‘batózeyal’: a night of music for string quartet and electronics.

“Excitingly, ‘batózeyal’ will feature two specially commissioned premieres, from Larry Goves and Aaron Parker, alongside Anna Meredith‘s ‘Tuggemo’ (a dance-inspired romp mixing the sounds of live string quartet with synth electronics), and other exhilarating recent works from Jonathan Dove (‘Quite Fast’ from his 2001 string quartet ‘Out of Time’) and Paul Zaba (‘Sidechains’, a dizzying musical incarnation of the electronic effect of the same name).

“In the context of this contemporary music, we will also be performing Bartók’s 3rd Quartet which sounds as fresh and visceral as it did at its conception, almost one hundred years ago.

“The title of the night shares its name with the piece by Aaron Parker, which responds to and interacts with the Bartók Quartet (while incorporating electronics and film). So come and join us for sparkling new music and a masterpiece of twentieth-century chamber music!”

There were no initial details for what the Goves piece was called, but talk on Twitter has confirmed that it’s a nine-minute composition called ‘Two-Way Mirror’. Meanwhile, here’s the Solem playing the Bartók (along with a Paul Zaba Soundcloud clip of ‘Sidechains’ and a performance of ‘Quite Fast’ by the Eurasia Quartet).


 
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“Artist Trevor Paglen and the ever-inventive Kronos Quartet present Sight Machine, a multimedia performance putting a string quartet under the gaze of machine-vision and artificial intelligence.

Kronos Quartet/Trevor Paglen: ' Sight Machine', 11th July 2019We live in a data-driven world, but is it really possible to quantify human emotion? This concert puts that question under surveillance. While the Kronos Quartet perform works by Terry Riley, Laurie Anderson, Steve Reich, Egyptian electronic musician Islam Chipsy and others, the musicians are monitored by cameras feeding into a suite of artificial intelligence algorithms. The software turns this abstracted information back into images, which are then projected onto the screen behind the performers, showing us how machines and their algorithms perceive what we are seeing.

“Utilising algorithms ranging from consumer-grade facial detection to advanced surveillance systems and even guided missiles, ‘Sight Machine’ is a fascinating and unsettling illustration of the discrepancy between what we experience as human beings and what machines ‘see’.

“This is part of Life Rewired – the 2019 Barbican season exploring what it means to be human when technology is changing everything.”

 

This work was originally performed in New York back in 2017 – read some more about that here. No extra details on the setlist yet…

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Dates:

Solem Quartet: ‘batózeyal’

  • The CLF Art Café, Block A, Bussey Building, 133 Copeland Road, Peckham, London, SE15 3SN, England – Thursday 2nd May 2019, 8.00pm – information here, here and here
  • The Invisible Wind Factory, 25 Carlton Street, Liverpool, L3 7BX, England – Thursday 9th May 2019, 8.00pm – information here and here
  • Soup Kitchen, 31-33 Spear Street, Northern Quarter, Manchester, M1 1DF, England – Friday 10th May 2019, 7.00pm – information here and here


Serious presents:
Kronos Quartet & Trevor Paglen: ‘Sight Machine’
Barbican Hall @ Barbican Arts Centre, Silk Street, City of London, London, EC2Y 8DS, England
Thursday 11th July 2019, 8.30pm
– information here and here

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Also, I guess it’s worth mentioning that the Markus Reuter string quartet record I previewed back in February is now out. Here are some promotional clips for those of you who missed out on the previous post…




 

May 2019 – upcoming gigs – theatrical rock and weirdtronica from Major Parkinson, Alwanzatar and Army Of Moths in London (2nd, 3rd); simmering avant-rock angles from Thumpermonkey and A Formal Horse in Southampton (2nd); eclectic music From My Octopus Mind and Daniel Inzani in Bristol plus a dance video premiere by Bethany Stenning (2nd)

23 Apr

Major Parkinson + Alwantazar + Army Of Moths, 2nd & 3rd May 2019The last time that Bergen rock dramatists Major Parkinson came to England, they amazed and were amazed – bringing an evening of dark-tinged theatrical music, and leaving grateful and a little thunderstruck at the attention they’d received and the energy and loyalty they’d stirred up. It had something to do with the fact that they’d unexpectedly tapped into the interests of Cardiacs fans, known for their family loyalty and their generally un-English zest for manic expressiveness and musical complexity. A perfect match, really. Fronted by Jon Ivar Kollbotn and massing up an armoury of violins, guitars and keyboards, Major Parkinson are a Jägerbomb of a band. Rich, heady, a little reminiscent of Cardiacs’ turbulent complexity, but with plenty of other things in the brew – a dash of Nick Cave’s Gothic cabaret, the huge dark orchestral-pop airs of Cousteau, the shipwreck timbers of black metal, the ambitions that come from staring at a shelfload of out-there music while still pawing over your childhood copy of ‘Sgt. Pepper’.

They’re back in England at the beginning of next month to play a London double – an official show at Tufnell Park’s Dome, plus (for Dome ticket holders) a pre-Dome warm-up at a secret location. No idea where the latter is. They’re selling it as some kind of thieves’ kitchen or secret cupboard, in which you’ll come as an audience member but helplessly spill onto the stage, presumably becoming one of the characters in a Parkinson tale. It’s all a mystery. Pick up a Dome ticket and be prepared to make an early weekend of it.



 
At the Dome show, there’s support from Alwanzatar, a solo “extraterrestrial world music” project from Krizla (who plays with Norwegian prog-psych-folkers Tusmørke). Founded around electronics, flute, synth gloop and incantations, it sounds a little like a reanimated Popul Vuh, raised up by dark rites and dragged into the world of bedroom electronica. Also on hand are Army Of Moths: usually a similarly theatre’lectrical racket to Major Parkinson themselves, playing an unhinged kind of power pop (great brick arches of song with a definite Cardiacs-y clamberosity involved, plus vocals scurrying around them like woozy wayward ivy or clamouring like a young Bowie). This time they’re playing in acoustic format.




 
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It’s going to be a busy Thursday for this kind of tuneful, extravagant fringe rock. Also on the 2nd – balefully powerful London avant-prog band Thumpermonkey up sticks for an evening and roll their dark laughter, their constantly shapeshifting compositions and their baffling, brainiac-surreal perspective out of London, taking the road down to Southampton to play for the determined diehards at Solent Area Prog.

Thumpermonkey + A Formal Horse, 2nd May 2019Like Major Parkinson, Thumpermonkey are a heady brew of ideas and drama. In their way, they’re one of Britain’s most ambitious rock bands, deftly striding and shifting between different musical kernels from prog, dark pop or experimental metal to a kind of science-fiction cabaret, languidly licking up and stirring in any intriguing nugget or story fragment they birth or encounter. Unpacking their decade-plus back catalogue of recordings is like getting trapped in one of those clever-dick contemporary polymath novels written about everything and anything, stitched together with a little magic and mystique – they’ve sung about computer games, Nigerian fraudsters, Mexican acid westerns and strange diseases and made it sound as if it were all part of the same complex semi-submerged story. Their most recent album, ‘Make Me Young, etc.’ is a surprisingly sober banking-down of the usual playful creative fires: a crepuscular meditation on the end of the world as observed through dreams, portents, reality and intimations.



 
Once a concoction of pointy elbows and sudden shifts, Southampton avant-rockers A Formal Horse (playing in support) are growing up, out and a little away from their post-prog beginnings, powered by Hayley McDonnell’s strong carolling tones. More recent songs (like 2018’s Bird) yearn toward a kind of florid dream-folk, even as the drumming nails mozaics into the floor and the guitar describes steely math-rock machinery forms. A couple of years ago, I described them as “a bounding conceptual glitterball”. In some respects, they’ve calmed down a little since then, but only in order to apply more considered forms of straining at their genre. At the moment, they’re like a muscle developing – over-straining, gently tearing, but with the intention and ability to rebuild and go further.



 
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In contrast to the journeys being carried out by Major Parkinson and Thumpermonkey next week, My Octopus Mind are staying happily at home in Bristol for their own 2nd May gig. Following their jaunt around the country back in February (and a brief vigorous five-date sizzle through France and Belgium earlier this month) this time they’re choosing to draw the wider world over to themselves.

Here’s what I wrote about them last time, which they’ve liked enough to quote themselves, and which I might as well requote myself – “My Octopus Mind occupy a pleasing position, settled in their own web of connections between a number of different influences but reliant upon none of them. There’s a jazzy rattle, predominantly via the gloriously noisy effected double bass of Izy Ellis (a growling, punchy, conversational art-box; upfront timber and raw electronic treatments). The whole band’s informed by post-Radiohead/Mars Volta art rock and by the mating of contrasts implicit in assorted culture collisions (such the Hindustani-classical meets New-York-loft-music teaming achieved in one particular favourite, Philip Glass and Ravi Shankar’s ‘Passages’). Frontman singer and guitarist Liam O’Connell cites the sonic and psychological crescendos of Jeff Buckley and Josh Homme’s mix of heaviness and irony, but also the restraint of Jose Gonzales. Ex-Lambhorneer Oliver Cocup adds refreshed drum bounce, and racing through the whole thing is a rivulet – or, more accurately, an unstoppable jet of skittish Balkan folk.”

While going out on tour, My Octopus Mind are a trio. On home turf, they’re a sextet. They’ve had an extra pair of plug-in string players for a while, but the sixth member remains a mystery for the moment. The other thing they’ll be unveiling at this gig is their second video release: a “magical” piece of stop-motion animation by Roos Mattaar, part of Bristol’s crop of world-class animators, and the woman previously responsible for most of the video for Father John Misty’s Things It Would Have Been Helpful To Know Before The Revolution.


 
More music visuals come from Bethany Stenning, whose “tender genderless, measureless, dimensionless” Stanlæy project has migrated between Paris, Ireland and Bristol in various shapes and forms since 2016 (with Bethany constantly at the core of the catherine wheel, throwing off strands of violin, piano, guitar, voice, synth and found sound). As musician and multi-instrumentalist, Bethany starts from a perspective of “ethereal gypsy punk-pop” and moves outwards from there into the kind of neverland/neverwas experimental folk music that we used to hear from Joanna Newsom; with her fey, unusual, offbeat-beautiful voice and lyrics exploring “human life in the modern world…our ancient relationships to nature… contemplations about consciousness and free will” while nestling in sparse yet evocative post-classical, free-sounding arrangements.

Stanlæy’s current incarnation (a spacious acoustic quartet) would fit right into the night’s gig lineup; but instead we’re getting a look at Bethany’s broader artistic concerns and abilities. Her involvement tonight has more to do with her visual art side and her passion for painting, illustrating, observing and questioning the human body via story and dance. In collaboration with cinematographer Rob Ellis, she scripts and directs video art, something which first came substantially together in 2017’s ‘The Human Project’ (“seven elements embodied within seven sonic visuals… seven hues, revealing the body as a canvas to represent natural elements as a metaphor for cognitive states of mind, and the evolution of the body. The human body transforms itself into a real life canvas.”) On this occasion, she’s presenting ‘Wear The Line’, a twenty -minute short film that’s “a thought-provoking and uncannily realised representation of the current climate of gender roles and their ambiguity. Set in a universe much like our own where one word or concept can have as many meanings as there are people, the film explores the formula of femininity. It features lead performances by Flora Whitmarsh, Taylor Young and Phoebe Hopwood.” Bethany also provided the music for the film – from what I’ve heard, a hypnotic and open-ended chamber-classical ambience.



 
Also on board for the evening is Daniel Inzani, playing a mid-bill set of piano pieces. Though he’s perhaps best known at the moment for the classical/jazz/folk chamber fusion music (simultaneously luxuriant, ghostly and sprightly) which he composes for his Spindle Ensemble quartet, Daniel’s work has also embraced vigorously visual Ethopian jazz fusion with his Tezeta octet; the performance of ska, rocksteady and Mahavishnu Orchestra music; and support work in a pair of Bristolian psychedelic assemblages (Graeme Smith’s blues-reggae-meets-lounge project Dubi Dolczek and Conrad Singh’s buzz/drone Americana folk-pop array Cloudshoes). His piano solos catch up and rework bits of his own compositions, rearrangements for different spaces.


 
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Dates:

Major Parkinson:

  • (secret location, London) – Thursday 2nd May 2019, time t.b.c. – special warm-up gig available to ticketholders for the Dome show
  • The Dome, 2a Dartmouth Park Hill, Tufnell Park, London, NW5 1HL, England – Friday 3rd May 2019, 7.00pm – information here, here and here

Solent Area Prog presents:
Thumpermonkey + A Formal Horse
The Joiners, 141 St Mary Street, Southampton, SO14 1NS, England
Thursday 2nd May 2019, 8.00pm
– information here, here and here

My Octopus Mind + Daniel Inzani + Bethany Stenning’s ‘Wear The Line’ (video premiere)
Cube Microplex, 4 Princess Row, Bristol, BS2 8NQ, England
Thursday 2nd May 2019, 7.30pm
– information here, here and here
 

April 2019 – upcoming English experimental/pop gigs – Joe Snape on tour in Birmingham, Brighton, London, Bristol and Newcastle with Laurie & Suze, plus guest spots from Maya Verlaak, Blood Stereo, O Yama O, Orxid, Competition and Gwilly Edmondez (11th, 13th, 17th, 18th and 19th April)

9 Apr

Usually busy in New York or Berlin, multimedia musician and performer Joe Snape drops back into England this week and next week for a five-date tour of his ‘Joyrobix’ project – “a suite of nimble, polychrome post-pop songs” which “(pay) weird homage to a musical America that doesn’t quite exist. Part soft-rock guitars, part gospel grooves, part Broadway aria, this is music that’s resolutely strange and oddly familiar at once.”

 
Amen to that. I might not hear much Hall & Oates or Mahalia Jackson in what he does, but ‘Joyrobix’ is an enchanting experience – pitch-bent fragmentary experimental pop arranged in a jaunty shatter. Joe sings wordlessly in a gentle, sensual welter of jazzy, Autotuned melisma amidst a cavalcade of perky noises and thumbed guitar, echoes of doo-wop and looming noise clouds, kinked brass and woodwind and broken-beat invention. Stemming from “a danceable refix of pieces for chamber ensemble”, its final form is apparently inspired by how his move to America went wrong: a crisped-up experience of “dislocation and burnout… dejection and displacement” which resulted in a sheaf of pieces which are as uplifting as their inspirations were sad.

Consequently, ‘Joyrobix’ is part musical diary, part therapeutic bounceback and part meander: too elusive to pin down easily, but a kaleidoscopic tapestry of complicated feelings expressed through pop tunes which wink and beckon at you around extra-dimensional twists. You’ll find yourself humming along even as you get lost. Live, the music’s being performed by a trio of Joe plus Jethro Cooke (electric guitar, electronics) and Louise Snape (trumpet and vocals), and Joe has collaborated with witty Swiss video absurdist Leonie Brandner to provide a set of ten short films as backdrops.


 
On all five dates Joe is headlining an evening of mingled multi-media music and performance art. At each gig, he’s joined by Laurie Tompkins and Suze Whaites – a.k.a. simply Laurie & Suze, two of the three co-directors of Newcastle’s hybrid electronic/improvised music label Slip (which is both promoting the tour and releasing much of the music involved in it). As a performing duo, they’re presenting their ‘Coop’ project, a first substantial step into collaboration (though I’m not sure whether that should be ‘Coop’ as in “co-operative” or as in “chicken”). Laurie deals with the music, Suze the visuals, with ‘Coop’ offing “a meshing of Tompkins’ sonic negotiations of pop cultural trauma, ritual self-abasement, and gunky funk, with Whaites’ illusive video renderings of the alien, microscopic, and fleshy.”.

The third act on the bill varies from city to city. In Birmingham, it’s Belgian experimental composer and former Acid Police Noise Ensemble member Maya Verlaak. I’ve heard nothing about what (or how) she’s going to perform, but previous live outings have had her picking and choosing from an arsenal of voice, melodica, keyboards, recorder, light sources, self-built electronics, cow horns, nail violin and bicycle. This – plus her preference for creating contextual compositions around factors of “place, musician, instrument, etiquette, conventions, history” – suggest that she’ll have scoped out the venue (Digbeth’s Vivid Projects space) and created something enigmatically appropriate.

In Brighton, battle is joined by local dark-space “electro-acoustic muck” noiseniks Blood Stereo, who base their disturbing atmospherics around “feral hissing and rumbling tape loops” including field recordings and home conjurings, plus electronics and objects. The object is to voice – or suggest – deep disturbances and anxieties seeping to the surface of the psyche and from there out into the broader world. Should rattle and chip a few teacups over in Hove.



 
In London it’s performance duo O Yama O, within which a “micro-orchestra” of small domestic objects, toys and mechanisms manipulated by Rie Nakajima ally with the body and voice performance of Keiko Yamamoto. They probe and map a (very) Japanese landscape of everyday life and noises, underlaid and informed by myth, tradition and national folk music, attempting a philosophical marriage of “the non-spectacular and the sublime”; a soundtrack for friendly or indifferent spirits floating across the tatami in a danchi apartment.

On album, O Yama O tend to incorporate more instrumentation and melody in a kind of skittering avant-garde Noh-dub. Live, it’s a strangely matter-of-fact immersive affair, domestic, dramatic and keyed to the performance space, with Keiki alternately tiptoeing, romping and stamping around using a full range of vocalisations (“chanting, incanting, thundering, whispering”).

 
In Bristol, it’s Orxid, a spinoff of visually-triggered, immediate-response Glaswegian rhythmic randomists Still House Plants, who finesse garage rock and Fine Art influences into something which sounds like neither (and who were once cheeky enough to release a live album consisting solely of them being introduced onstage before a cut to the aftershow chatter: check here for a long breakdown of their complex ethos).

Orxid is a solo project for SHP singer Jessica Hickie-Kallenbach, who adds the tattered fragments of song expression to their clangs, hisses and staggers. What she does on her own is less clear, but you could glean some clues from her general art-mission statement of “being concerned with value in the immaterial and everyday… the translation of experience” and by her summary of the project as “Orxid is, Jessica Hickie-Kallenbach is, triumphant when barking, flirting with misdirection, with weak knees, malfunctioning. All brushed up when just-heard through bedroom doors.”

Update, 11th April – I’ve just noticed that there’s a fifth date, in Newcastle, so am adding it in a hurry while I’m supposed to be doing something else… and it looks as if I missed two earlier Bradford and Manchester dates as well… Nuts.. oh well, here’s what’s left. Ripping the Newcastle support acts’ blurbs here…

Competition (a.k.a. Craig Pollard) makes (mild) pop music and performs live with a sampler and voice. The songs think about smallness and vulnerability, and build hooks from within their own limited means. Most recent tape ‘You Turned Into A Painting’ was released by Slip in November 2018.”

 
Gwilly Edmondez is a person-project forced into a pop packaging that inevitably gets mangled up by person-to-person cataclysmics. Because Gwilly is influenced by anybody you can possible think of (Billy Joel, Coil, Lucinda Williams, Laurie Anderson, AIDS Wolf…) there’s no point trying to categorise… Abstract Exhibitionism? Troubled Intimacy? Wild Pop… Gwilly Edmondez represents a coagulation of multiple character strands derived out of one private/public individual whose corporeal manifestation carries it through live shows, albums, videos and numerous collaborations in improvised music. Born in Lake Fear, Pen-Y-Bont, Gwilly has returned. Other incarnations include Radioactive Sparrow co-founder Bill Bargefoot, JRMY PAXMN out of YEAH YOU and the writer/composer/artist Gustav Thomas which is probably his real name. In all guises he is a purveyor of reaLFake Wild Pop, tearing open the terrified quotidian regimes of colonized consciousness (through, and in, his own brain) in order to plunge intensities between the cracks exposed. This doesn’t actually, necessarily, work – per se – but it’s the in engagement of attempts where the drama takes place.”

 
Finally, Mariam Rezaei is a turntablist and vocalist with a yen for making electronic theatre soundtracks: she’s part of Gateshead DJ-haunt turned mixed-arts incubator TOPH (or The Old Police House). Below is a taste of her esoteric clubtronica, although on this occasion I think she’s just playing other people’s music…


 
And while I’m making additions, here’s a Snape video from ‘Joyrobix’…


 
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Dates:

Joe Snape’s Joyrobix + Laurie & Suze’s ‘Coop’:

  • Vivid Projects, 16 Minerva Works, Eastside, Birmingham, B5 5RS, England – Thursday 11th April 2019, 7.30pm (with Maya Verlaak) – information here and here
  • The Rose Hill, 70-71 Rosehill Terrace, Brighton, BN1 4JL, England – Saturday 13th April 2019, 7.30pm (with Blood Stereo) – information here and here
  • Stour Space, 7 Roach Road, Fish Island, Bow, London, E3 2PA, England – Wednesday 17th April 2019, 7.30pm (with O Yama O) – information here, here and here
  • Café Kino, 108 Stokes Croft, Bristol, BS1 3RU – Thursday 18th April 2019, 7.30pm (with Orxid) – information here and here
  • Star & Shadow Cinema, Warwick Street, Newcastle-upon-Tyne, NE2 1BB, England – Friday 19th April 2019, 7.30pm (with Competition + Gwilly Edmondez + DJ Mariam Rezaei) – information here, here and here

 

April 2019 – upcoming London experimental gigs – Kammer Klang celebrates Annea Lockwood with Xenia Pestova Bennett, Nate Wooley, Jennifer Lucy Allan, Diffusions and the Cafe Oto Experimental Choir, plus Evie Hilyer and Amalia Young performing Chiyoko Szlavnics, Laura Cannell performing Peter Hannan and CRiSAP students performing EVOL and Yoshi Wada (6th & 7th)

2 Apr

Kammer Klang, 6th & 7th April 2019

Another Kammer Klang in Dalston provides a two-day weekend residency for Annea Lockwood; the New Zealand-born composer who started her career in the ferment of 1960s summer-schools at Darmstadt (with their focus on organised electronic composition) but who rapidly went far beyond that. Curated by former ‘Wire’ online editor Jennifer Lucy Allan, the weekend features various Lockwood European premieres alongside work by Chiyoko Szlavnics, EVOL, Yoshi Wada and Peter Hannan.

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For the Saturday event, Jennifer will be reading from ‘Annea Lockwood – Sound Streams’, an essay written by The Wire’s Louise Gray (for the Edition Festival for Other Music) which explores Annea’s ethos through from her early Darmstadt days to the present. En route, it touches on her playful Fluxus-influenced piano stunts, such as floating a tiny, tinkling musical box, attached to a bright childlike bunching of helium balloons, out of the body of a grand and into a the space of formal concert hall; or kitting out an old upright with integrated, foregrounded toys which not only made avant-garde noises but also visibly kept their toy nature.

The essay also delves into Annea’s later approach of mapping sound and space as a listener, mapper and translator – having ditched electronic sound-sources as master tone generators (while retaining electronics for processing), she moved to reconfiguring and (crucially) interacting sympathetically with natural environmental sounds. Even while imposing her own will on those sounds as recordings and as material, she’s consistently respected and illuminated their original sources and context, including the functions which they represent and the continuance which they embody.

There will be audio playbacks of two entirely electroacoustic Lockwood pieces. 2012’s ‘Dusk’ presents a mixture of “low frequency sounds generated by seafloor black smoker hydrothermal vents, transposed bat calls, and percussionist William Winant playing a tamtam”. Initially, 2013’s ‘Bouyant’ seems to travel from the pastoral to the sinister to comfortingly aural wit, as dipping, paddling water noises alternate with sinister low-frequency drones, haunting frictional creaks and indistinct faraway howls, which in turn give way to cheerful, pastoral farmyard animals bleating and babbling in the middle distance. It’s as if a canoeing trip (filmed in rapid disassociated jumps between panoramic scene shots and extreme close-ups, and between air and underwater) had started out being stalked by eldritch forest monsters and emerged in the millflow beside Old McDonald’s farm.

 
I’ve just read that last bit back and am laughing at myself again for the splats of fancy that I came up with. Maybe I’m just too trapped in a habit of floridly verbalising what I hear, as I try to shift my impressions from incoming sound to outflowing text. I suspect that in doing so I’m missing the point of what Annea does with her compositional process and what her intentions are when she brings it out of the sound lab and to the listener. Jamming a corny, boyish narrative of external horror-movie threat and cartoon silliness onto what I’m hearing isn’t the right approach. What I should be doing is dropping the whimsy and listening to the sounds as they were made and processed, without my input. It’s probably more accurate to interpret ‘Buoyant’ as a full-range representation of a segmented river journey passing through inscrutable wildernesses and the managed densities of rural agriculture (each of them with their differing environments and functionality) while realising that my listening human ears impose subjective meaning and story onto what they hear; as those of any listener might.

If you’re interested in the purest end of Annea’s interpretations of field-recordings, her four-channel sound installation, ‘A Sound Map of the Housatonic River’ will be open to the public at Cafe Oto Project Space throughout the weekend. It’s another water piece – extracted from a hundred-and-fifty-mile stretch of New England waterway via recordings made at points from river source to river mouth, both underwater and on the surface. Subsequently, it’s been formed into a polyphonic tricklerushflow of noises, crafted to capture the character of a river made up from the sum of its users, denizens, dynamics and fluid functions: a character which available to the ears if you know how to sit back and absorb it. You can listen to a downloadable excerpt here.

Saturday also provides the opportunity to listen to another strand of Annea’s music: two piano pieces performed by Xenia Pestova Bennett which are closer to the concert hall, building on bedrock conceptual carvings more akin the deconstructions of John Cage and the rumbles of James Tenney. In 1993’s ‘Red Mesa’ clustered drips of piano notes, gently sophisticated chordings and zither-strums inside the case result in something (to these misleadable ears, at least) strangely close to a Bill Evans jazz romance. 2001’s ‘RCSC’ takes the same principles and techniques but pursues them somewhere much darker and more reverberant, where the piano body becomes a roiling haunted canyon of clangs, stutters and trapped lashing stiflings, or perhaps just an objective map of unforgiving terrain. There’s an earlier interpretation of ‘RCSC’ below:


 
Supporting the Lockwood work will be a pair of duets played by emerging violinists Evie Hilyer and Amalia Young. ‘This Is Only Here’ and ‘HC91’ are both composed by electroacoustic specialist Chiyoko Szlavnics, who devises her pieces (in part) through drawings, and whose work has a focus on the “beating” phenomenon which occurs when two imperfectly tuned pitches interact with each other in an oscillating throb.

The Fresh Klang contribution for Saturday will be ‘Three hundred grams of latex and steel in one day‘: a 2011 spatial performance piece being restaged by students from the CRiSAP program (Creative Research into Sound Arts Practice, at the University of the Arts London). Using groupings of balloons and hex nuts at varied distances from the observer, it was originally composed/conceived by EVOL (the dual-composing, music-squashing, party-hooligan-cum-research-science team of Roc Jiménez de Cisneros and Stephen Sharp) as a way of exploring a modelled algorithmic process in perverse, potentially frustrating real-world terms. In practise, it’s mostly about EVOL’s fondness for deformatory music, and about the inspiring, embraceable awkwardness and randomness of trying to get an avant-garde composition off the ground by molesting blown-up latex. Squu-u-u-u-u-arr-r-r-r-r-kk-k-k….

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The Sunday event starts with a free afternoon Q&A session with both Annea Lockwood and composer/improviser Nate Wooley. During the evening concert, Nate will be performing the European premiere of his 2018 co-composition with Annea, ‘Becoming Air’, on trumpet and tamtam. It made its debut at Nate’s own FOR/WITH festival, and uses circular breathing, an effects pedal and a constantly-fiddled-with miked-up trumpet to capture overtones: it’s been noted for “using much of his improvising electro-acoustic vocabulary (while being) absolutely an Annea Lockwood composition: performative, shamanic, and with an attention to the naturalness of sound that makes the audience rethink their aural surroundings.” as well as containing sounds which (as ‘The Information Superhighway‘ put it) are “suggestive of a sprinkler system that’s gained consciousness.”

The other Lockwood composition for the evening will be the vocal piece ‘Water & Memory’, again receiving a European premiere. Based around hums and reiteration of water-words in Hindi, Thai and Hebrew and spacing a group of voice performers all around the venue, it’s conceived for amateur musicians and requires audience participation. This is billed as being performed by the “Cafe Oto Experimental Choir”. In practise – and on the night – I guess that that means you as well.

In addition to the evening’s Lockwoodia, there’ll be a visit from iterant Early/avant-music specialist Laura Cannell (see passim), interpreting ‘Rsrch 4/83’ by electro-acoustic orientated composer Peter Hannan; himself a former recorder player who wrote the ‘Rsrch’ series to explore, express and comment on musical and technical problems with the instrument. For this one, the recorder and the performer’s voice go through electronic delay system to pursue and realise “a rich texture of overtones” resulting in an incantatory buzzing reminiscent of throat singing.

More overtone work is provided by the CRiSAP students, returning for another Fresh Klang piece. This time they’re reviving ‘Lament for the Rise and Fall of Handy-Horn’, a (probably) deafening 1990s composition by Japanese Fluxus/drone composer Yoshi Wada. For this one, a set of nautical air horns are triggered and left to blare until all the compressed air has blown out of their tanks.

The impact of ‘Lament’ has relatively little to do with planned pitches, and everything to do with other factors such as the oppressive volume (which helps with the overtones), the sense of situational alarm (springing up even in a prepared audience), and the increased air pressure in the room (which comes with the discharging of the horns). I just hope that the performance of ‘Little Miss Sunshine’ next door at the Arcola Theatre will already be particularly noisy, rowdy and oblivious…

* * * * * * * *

Dates:

Kammer Klang presents:
Jennifer Lucy Allan/Diffusions/Xenia Pestova Bennett perform Annea Lockwood / Evie Hilyer and Amalia Young perform Chiyoko Szlavnics / CRiSAP students perform EVOL
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Saturday 6th April, 7.30pm
– information here, here and here

Kammer Klang presents:
Annea Lockwood/Nate Wooley/Cafe Oto Experimental Choir perform Annea Lockwood / Laura Cannell performs Peter Hannan / CRiSAP students perform Yoshi Wada
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Sunday 7th April 2019, 7.30pm
– information here, here and here
 

April/May 2019 – upcoming folk/experimental gigs – Sam Lee’s ‘Singing With Nightingales’ season

30 Mar

Details on the upcoming season of Sam Lee’s ‘Singing With Nightingales’ – slightly massaged press text follows…

'Singing With Nightingales', April/May 2019

“Join folk singer, song collector and nature lover Sam Lee in the forest, sit by the fireside and listen to intoxicating song, as some of the finest musicians in the land duet with the sweet sound of the nightingale. Immerse yourself in the folklore and ways of our native birds, savour the music of world-renowned guest artists from folk, classical, world music, and jazz arenas. Join us in a rare and thrilling journey as darkness falls upon the springtime woodlands of Kent, Sussex and Gloucestershire from 18th April to 26th May.

“Each year, for a few months from mid-April, a few thousand nightingales fly to the southern UK from Africa. They can be heard in just a small number of special locations, taking up songful residence after dusk. The territorial males serenade loyally each night for no more than six weeks among the blackthorn and forest margins, giving unbelievable privilege to those who know where to go. Inspired by infamous recordings of cellist Beatrice Harrison playing with nightingales as far back as 1924, Sam has been hosting reverent celebrations of this endangered bird each spring since 2014. These events have spanned multiple events at four different sites, a ‘Pick of The Year’ BBC Radio 4 documentary, a critically acclaimed adaptation for theatres and concert halls, and many broadcasts on BBC Radio 3.

“As well as the outdoor night shows, you can also enjoy the sound of the nightingales’ song in the comfort of concert halls across the UK from 14th April. After a hugely popular run in 2018, our ‘Singing With Nightingales: Live’ tour is back, bringing you diverse musicians in relaxed, low-lit settings improvising in collaboration with live birdsong via live broadcast feed from the countryside. Joining Sam on stage will be a duo (depending on the date) of either violin-playing jazz world/folk singer Alice Zawadzki plus kora-playing Senegalese Griot Kadialy Kouyate, or Welsh folk-singer/songwriter/harpist Georgia Ruth plus Bristolian post-jazz trumpeter/multi-instrumentalist Pete Judge. In addition, an abridged version of ‘Singing With Nightingales: Live’ will feature at London’s South Bank as the late show in the ‘Absolute Bird’ concert (a night of classical music inspired by birdsong).


 
“Brand new for this year, we are launching a mini festival experience with the nightingales at Fingringhoe Wick , Essex, on 27th April. Hosted by Sam, the night will feature three performances from Irish 10-string drone fiddler Caoimhin O’Raghallaigh and from experimental songwriters and instrumentalists Serafina Steer and Cosmo Sheldrake, all joined in song with the nightingale.

We’re offering return travel from London for selected events; and we’re very happy to say that we have received some funding from Arts Council England which means we’re able to put a number of concessions tickets on sale for selected events. These are strictly for people on low income. We also have a number of concession tickets available for our Singing With Nightingales Festival event at Fingringhoe Wick nature reserve, Essex on April 27th.”

Other musicians involved in the open air concerts come from a variety of different genres. There are classical and jazz flautists (Paul Cheneour; and Marsyas Trio‘s Helen Vidovich) and assorted polygenre players (eclectic South African cellist Abel Selaocoe, post-classical/post-folk chamberist Kate St John, Globe Theatre music director Bill Barclay, multi-instrumental composer Christo Squier). There are singers from various strands of contemporary folk (Lisa Knapp, Furrow Collective’s Lucy Farrell, ESKA) and soul-jazz singer-cellist Ayanna Witter-Johnson. There’s the choral work of vocal trio Blood Moon Project (featuring Heloise Tunstall Behrens, Tanya Auclair and Luisa Gerstein). There are also representatives of music from further afield (Zimbabwean singer/mbira master Chartwell Dutiro, travelling shakuhachi-ist Adrian Freedman, Afghan music specialists John Baily & Veronica Doubleday and Dublin vocalist Fergus “Faró” Cahillane, the latter known for Irish and Irish/Viking acappella folk work with Anúna and M’anam).


 
Update, 13th April – in the latest development, ‘Singing With Nightingales’ is linking up in London with the Extinction Rebellion movement, on 29th April, for a “peaceful sit down intervention” in central London, called ‘A Nightingale Sang in Berkeley Square‘:

“In the midst of the heightened attention to climate change and environmental catastrophe we want to bring people together in celebration of the musical beauty of the natural world. Poets, musicians and nature lovers will join together to perform the most romantic rebellion.

“Written in 1939, the renowned ballad tells of the impossible moment when a now critically endangered nightingale (Luscinia megarhynchos) sings in Mayfair’s famous garden square. Nightingales have not been heard in Central London, let alone Mayfair, for several hundred years. However, through the magical power of people and technology this April 29th, XR, Sam Lee, The Nest Collective and a pop-up flash mob of nature enthusiasts, musicians and supporters will gather to rewild nightingale song back into Berkeley Square.

“Through synchronised streaming of the nightingale’s mesmeric yet seldom heard courtship song via mobile phones and mobile speakers, our pop-up action will fill the park and surrounding streets with the song of a creature nearing extinction on this island. The birdsong will be accompanied by offerings from musicians, singers, poets and anyone who wants to collaborate with the finest singer in the world. This central London rewilding action aims to bring poetic focus to the shocking demise of our own native species and give Londoners the opportunity to hear a once ubiquitous songbird, now near extinct in the UK, in its mythic notional home.”

* * * * * * * *

Full dates for everything:

Open-air shows at Green Farm Kent, Church Lane, Shadoxhurst, Kent, TN26 1LS, England

  • Friday 19th April 2019, 6.30pm (featuring Sam Lee & Bill Barclay) – information here and here
  • Saturday 20th April 2019, 6.30pm (featuring Sam Lee & Paul Cheneour) – information here and here
  • Sunday 21st April 2019 (featuring Sam Lee & Christo Squier) – information here and here
  • Friday 17th May 2019, 6.30pm (featuring Sam Lee & Helen Vidovich) – information here and here
  • Saturday 18th May 2019, 6.30pm (featuring Sam Lee & Abel Selaocoe) – information here and here
  • Sunday 19th May 2019, 6.30pm (featuring Sam Lee & Blood Moon Project) – information here and here

Open-air shows at a secret location near Spithurst, Lewes, Sussex, BN8 5EF, England

  • Thursday 25th April 2019, 6.30pm (featuring Caoimhin O’Raghallaigh) – information here and here
  • Friday 26th April 2019, 6.30pm (featuring Caoimhin O’Raghallaigh) – information here and here
  • Friday 3rd May 2019, 6.30pm (featuring Sam Lee & Lisa Knapp) – information here and here
  • Saturday 4th May 2019, 6.30pm (featuring Sam Lee & Kate St John) – information here and here
  • Sunday 5th May 2019, 6.30pm (featuring Ayanna Witter-Johnson) – information here and here
  • Monday 6th May 2019, 6.30pm (featuring Sam Lee & Lucy Farrell) – information here and here
  • Saturday 25th May 2019, 6.30pm (featuring Sam Lee + ESKA + John Baily & Veronica Doubleday) – information here and here
  • Sunday 26th May 2019, 6.30pm (featuring Sam Lee & Fergus Cahillane) – information here and here

Open-air shows at Highnam Woods, Highnam, Gloucestershire, GL2 8AA, England

  • Thursday 9th May 2019, 6.30pm (featuring Sam Lee & Pete Judge) – information here and here
  • Friday 10th May 2019, 6.30pm (featuring Sam Lee & Chartwell Dutiro) – information here and here
  • Saturday 11th May 2019, 6.30pm (featuring Sam Lee & Adrian Freedman) – information here and here

‘Singing With Nightingales: Live’ (indoor concerts)

  • Ropetackle Arts Centre, Little High Street, Shoreham-by-Sea, West Sussex, BN43 5EG, England – Sunday 14th April 2019, 8.00pm (featuring Sam Lee + Alice Zawadzki + Kadialy Kouyate) – information here and here
  • The Old Fire Station, 40 George Street, Oxford, OX1 2AQ, England – Tuesday 23rd April 2019, 8.00pm (featuring Sam Lee + Alice Zawadzki + Kadialy Kouyate) – information here and here
  • Warwick Arts Centre, University Road, Coventry, CV4 7AL, England – Wednesday 24th April 2019, 8.00pm (featuring Sam Lee + Alice Zawadzki + Kadialy Kouyate) – information here and here
  • Dartington Hall, Totnes, Devon, TQ9 6EL, Tuesday 30th April 2019, 8.00pm (featuring Sam Lee + Alice Zawadzki + Kadialy Kouyate) – information here and here
  • Wyeside Arts Centre, Castle Street, Builth Wells, LD2 3BN, Wales – Wednesday 8th May 2019, 8.00pm (featuring Sam Lee + Pete Judge + Georgia Ruth) – information here and here
  • St Laurence’s Church, Church Street, Stroud, GL5 1JL, England – Wednesday 15th May 2019, … (featuring Sam Lee + Pete Judge + Georgia Ruth) – information here and here.
  • Gulbenkian Theatre, University of Kent, Canterbury, Kent, CT2 7NB, England – Wednesday 22nd May 2019, 8.00pm (featuring Sam Lee + Pete Judge + Georgia Ruth) – information here and here
  • Junction II @ Cambridge Junction, Clifton Way, Cambridge, CB1 7GX, England – Thursday 23rd May 2019, 8.00pm (featuring Sam Lee + Pete Judge + Georgia Ruth) – information here and here
  • ’Absolute Bird: Translating Nature’ Queen Elizabeth Hall @ Southbank Centre, Belvedere Road, Waterloo, London, SE1 8XX, England – Friday 24th May 2019, 8.00pm (featuring Sam Lee, Alice Zawadzki plus selected members of City of London Sinfonia) – information here and here.

Singing With Nightingales: Festival (with Sam Lee + Serafina Steer + Caoimhin O’Raghallaigh + Cosmo Sheldrake)
Visitor Centre @ Fingringhoe Wick Nature Reserve, South Green Road, Colchester, Essex, CO5 7DN, England
Saturday 27th April 2019, 8.00pm
– information here, here and here

Extinction Rebellion: ‘A Nightingale Sang in Berkeley Square’
Berkeley Square, Mayfair, London, W1J, England
Monday 29th April 2019, 6.00pm
– information here
 

February 2019 – upcoming London classical gigs plus previews – Edmund Finnis premieres new piano trio on Britten Sinfonia English mini-tour (12th,13th, 15th February) – plus looks at Edmund’s imminent ‘The Air, Turning’ album and Markus Reuter’s imminent ‘Heartland’ album

8 Feb

A new Edmund Finnis composition is doing the rounds on a Britten Sinfonia micro-tour next week, taking in concerts in Cambridge, London and Norwich. The piece is a piano trio nestled in amongst a programme of compositions which examine chamber music’s historical connection to, and evolution from, Bach’s Violin Sonata No. 1. Starting with this sonata, the concert progresses through Leoš Janáček’ ‘Pohádka’ and Olivier Messiaen’s ‘Le merle noir’, with the piano trio then preceding a performance of Bohuslav Martinů’s ‘Sonata for flute, violin and piano’. The performers are flautist Emer McDonough, violinist Thomas Gould, cellist Caroline Dearnley and pianist Huw Watkins.

I can’t find a title – or indeed, much more context and background – for the piano trio beyond this, although all will probably be revealed at the time. At the London date, Edmund’s also providing more details in a ticketed public talk with Dr Kate Kennedy before the concert begins. I’ve previously noted his compositional style as “flow(ing) from the luminously minimal to frenetically eerie orchestral jousts”, so he should have plenty to talk about.

Britten Sinfonia: At Lunch 2 2018-2019 – Bach, Janácek, Messiaen, Finnis and Martinu

  • West Road Concert Hall, 11 West Road, Cambridge CB3 9DP, England – Monday 12th February 2019, 1.00pm – information here, here, here and here
  • Wigmore Hall, 36 Wigmore Street, Marylebone, London, W1U 2BP, England – Wednesday 13th February 2019, 1.00pm
    – information here, here and here (Edmund Finnis in conversation with Dr Kate Kennedy, 12.15pm – free event – information here)
  • St Andrew’s Hall @ The Halls, St Andrew’s Plain, Norwich, NR3 1AU, England – Friday 15th February 2019, 1.00pm – information here, here and here

Edmund Finnis: 'The Air, Turning'

Edmund Finnis: ‘The Air, Turning’

Meanwhile, the first recorded collection of Edmund’s compositions – ‘The Air, Turning’, which has been six years in the making – is out on 9th February on NMC Recordings. Besides the sensual title composition (an orchestral work inspired by the concept of how music’s sound vibrations thrum and manipulate the atmosphere around us), it includes five other Finnis works. There’s the slow-ringing string orchestra piece ‘Between Rain’ (as performed at the Roundhouse and at ‘Organ Reframed‘ in 2016); the crepuscular, haunting ‘Shades Lengthen’ violin concerto; the blossoming ensemble work ‘Parallel Colour’ (in which clarinet, piano, strings and percussion drip and swell like heavy dew in an unexpected spot of bluster) and his ‘Four Duets’ for clarinet and piano.

Players include the BBC Scottish Symphony Orchestra, the London Contemporary Orchestra, violinist Eloisa-Fleur Thom and Birmingham Contemporary Music Group. The more electronic/electrophonic side of Edmund’s work isn’t really present (for a few examples of that, visit his Soundcloud page), but it’s nodded to via the violin-plus-reverb concert hall piece ‘Elsewhere’ (which was touched on in here around two years ago when I plugged its second ever performance by Daniel Pioro). All in all, it’s exciting music – simultaneously translucent, muscular and subtly cerebral, with a rare quality of mystique and engagement.


 
* * * * * * * *

Seeing that I’ve drawn myself into writing about Edmund’s album, I’ll add something about Markus Reuter’s upcoming string quartet project ‘Heartland’. This isn’t out on record for a couple of months but has just begun to tease on Bandcamp, although Markus was good enough to send me the whole recording this week to listen to. This isn’t the first time Markus has created music which has disengaged from his usual electrophonic world of direct sound-processing and touch guitar, or in which he hasn’t felt the requirement to be present as performer. That would have been the orchestral version of ‘Todmorden 513’ a few years ago: a dense slowly-evolving soundpool built from algorithmic processes, assuming a vast, eerie and slightly melancholic ritual character to overlay its logical progression.

Markus Reuter, 2017 (photo © Dutch Rall)

Markus Reuter, 2017 (photo © Dutch Rall)

Across the sixty minutes and eight sections of ‘Heartland’, algorithmic processes are once again the driving engines: mathematics lurk within the extended composition, with fractals, magic squares, and other numerical devices defining its elegant form. The piece, however (beautifully recorded in Berlin’s Kirche Zum Heiligen Kreuz, Berlin last October by the Matangi Quartet) brings more to the listener than an appreciation of structures. Beyond the initial brain-tickle, it seems that different listeners are inspired into different psychoactive responses. Active voyages of discovery seem to be a common theme. Various sleevenote contributors compare the journey through ‘Heartland’ to a Jungian river-ride through the collective subconscious, or to a Kubrickian Star Gate trip; while in the teaser video, Matangi violinist Maria-Paula Majoor appreciates the essential character of ‘Heartland’ as being “contemplative, maybe, (but) not very sure… I like that, in music… I think it’s nice to feel there is a doubt…that also gives the space for interpretation, and also for the listener to create (their) own interpretation”, and cellist Arno van der Vuurst comments that the music seems to be “searching for something”.


 
On a superficial level, ‘Heartland’ sometimes also suggests a bridge between the technical perfection of Bach baroque and the programmatic patterning of New York minimalism. It’s true that that particular bridge has already taken some heavy traffic, and from many different composers; but in Markus’ case he seems to have built his own separate bridge across the same river, and it’s only a part of the architecture and living space which the piece enables – it’s by no means its raison d’être. For initial promotion, Markus has mostly restricted himself to talking about translating processes into music, and about how his algorithmic/fractal note rows (and what progresses from them) work like carefully decorated modes or ragas; but the twinkle in his eyes suggests more. On the literary side, there are explicit references to Scarlett Thomas, short stories and sad goodbyes, and implicit ones to Thomas Mann: Markus also talks about “music that is there already and only needs to be uncovered”, and he’s clearly revelling in his opportunity to go wherever he wants and that “people want to be surprised, and they kind of like the fact that I’m an explorer.”

Matangi Quartet: 'Markus Reuter: String Quartet No. 1 'Heartland''

Matangi Quartet: ‘Markus Reuter: String Quartet No. 1 ‘Heartland”

Due to my own circumstances, I often find that I have to run much of my music-listening time in parallel with entirely unassociated work time. In some cases this works fine: the higher levels of my brain are usually bored with lying fallow while other tasks have to be done, and the business of processing and appreciating music occupies brain space which would otherwise make me rattle and rebel. However, I do find that certain kinds of music are tougher to listen to. Much of contemporary classical music is too immediately information-dense, too neurotically intellectual – and, in a strange way, simultaneously too directly assertive and too demandingly needy for to be able to split my attention while listening to it. (Oddly enough, I have a similar response to hip hop).

‘Heartland’ is certainly full of coding, but when I ran it through the mill of listening necessity I’ve described above – while concentrating fiercely on a pile up of day-job things which needed to be fixed – I found that it also had surprisingly calming qualities. In particular, it had qualities of order – as if the pulse and pitching of the music was putting things right without relying on the usual structural/dramatic clichés to which I respond. While ‘Heartland’ is full of detail and mechanism, and while Markus is particularly open about that, much of its devicery is camouflaged: the piece does not anxiously assert its complexity and importance. Instead, I found it subtle and confident in its own intelligence, like the workings of a brain; not the chaotic, nervy dramatisation of an unbalanced mind, but something more Apollonian, with a matter-of-fact humanity. On this particular pass I didn’t feel skilled enough to analyse everything in it, but from the off I felt the structures and the processes… and also felt that I was somehow sharing in them.

This might not be a purely rational conclusion (and a different week might produce a different flexion of the imagination) but for now I’m sticking to it. Perhaps, beyond its number processes, ‘Heartland’ is a self-contained flexible map for an inner journey; perhaps, for me, it works as a set of complex mental debugging routines generated and given impetus by the chug of bow on string and the singing self-contained musicality that’s propelled string quartets in common for three centuries (and which has built a proportion of my own responses for about a sixth of that time). To these ears, this mind, ‘Heartland’ is a generous piece. It inspires a kind of serenity, even a kind of hope.

‘Heartland’ is out on Solaire Records on 12th April, and can be pre-ordered here and here.


 

January/February 2019 – upcoming London classical gigs – two premieres – BBC Symphony Orchestra delivers Richard Causton’s ‘Ik zeg: NU’ alongside Brahms and Schumann (23rd January); Peter Eötvös conducts his own ‘Multiversum’ for the Philharmonia alongside Bartók, Stravinsky and Stockhausen (7th February)

20 Jan

Quick news on two classical premieres coming up…

On 23rd January, Richard Causton’s new orchestral piece ‘Ik zeg: NU’ (‘I Say: NOW’) receives its debut performance courtesy of the BBC Symphony Orchestra. It’s in good company; sitting alongside a double bill of Brahms’s Third Symphony and Schumann’s heart-on-sleeve Cello Concerto, conceived to “celebrate the friendship and musical kinship between the two composers”, conducted by Sakari Oramo and with Stephen Isserlis doing the cello honours for the Schumann.

Richard Causton

Richard Causton

But let’s focus on the Causton piece. A pleasantly humble, persistently thoughtful composer, he’s consistently delivered the goods for over twenty years now, coming up with carefully-conceived and intuitively shaped compositions. Rather too many contemporary composers hide behind their lofty concepts and allow the verbal summaries to make up for shortfalls in musical communication or audience connection. This isn’t the case here – Richard specialises not in the kind of pieces which provide concertgoer kudos without any particular joy and enlightenment, but the kind which gently, kindly set the intelligence humming. Regardless of your level of classical cultivation, you tend to leave a performance of a Causton piece feeling cleverer and more enthused than you did when you went in. It’s a rare gift, whether you’re talking about something wielded or something given.

In a recent interview with ‘Final Note’ magazine, Richard sheds some light on the new work, which is inspired by family history and the sudden sense of being set against larger, more confusing/difficult-to-process events, while also drawing comparisons between life and music. “…It’s always slipping through your fingers and if you’re lucky enough you might have some wonderful time, but you can never keep it… Music can do things with time that no other art form can… (it) can have a complex and oblique relationship with clock time; it can intensify or stretch it…. There’s a lot of fast music, which is also quite static; it’s like when you walk past a school playground you can hear so many different games, voices and conversations, and with all that going on it can still seem static – but at the same time playful and too rapid to grasp properly. We can stand back and listen to it as one big landscape. There are other parts of my piece that are extremely slow, but transform gradually over time, which can force us into a very slow place of listening. In the collision of these two kinds of music the ear is pulled in different directions.”

On 7th February, veteran Hungarian composer Peter Eötvös conducts his own new piece ‘Multiversum’ for the Philharmonia Orchestra. Written for orchestra, pipe organ (played by Iveta Apkalna) and – unusually – a Hammond organ to be played by László Fassang (and chosen as an instrument for its timbral ability to “continuously change colours” ), it’s a reiteration of space-age wonder which arrives at a time when awareness of space exploration and research is on the upturn.

Peter Eötvös (photo © Jean-Francois Leclercq)

Peter Eötvös (photo © Jean-Francois Leclercq)

It’s also an exploration of deep-level physics: Peter, who has previous form for experimenting with amplified instrument technology (not least during a lengthy spell as Stockhausen’s engineer, copyist, conductor and general utility man) and for investigating cosmically-slanted compositions, comments that “since Yuri Gagarin´s journey into space in 1961, technological advancements have caused us to marvel at the miracle of the cosmos. Research like Witten´s theory of the eleven dimensions and string theory has astounded us with its speculation on the nature of outer space, and has spurred me on in my compositional fantasy.”

In an interview this month on ‘Bachtrack’, Peter confesses that he’s been fascinated with the idea of creating a giant ambient cosmic sound since he was a teenager, and throws some more light on the conception and arrangement of the piece, including the unusual but carefully-considered positioning of the musicians onstage to provide the right kind of sonic wraparound.

‘Multiversum’ comprises the second half of a performance which also includes Schoenberg’s ‘Accompaniment to an Imaginary Film Scene’, Bartók’s ‘Dance Suite’ and Stravinsky’s ‘Symphony in Three Movements’, all chosen for their rhythmic charge and twitching nervous orchestral energy.

Obviously there are no advance clips for listening to, but here are a couple of previous Causton and Eötvös works for the curious…



 
* * * * * * * *

Dates:

BBC Symphony Orchestra/Sakari Oramo/Steven Isserlis: ‘Richard Causton, Schumann and Brahms’
Barbican Hall @ Barbican Arts Centre, Silk Street, Barbican, London, EC2Y 8DS, England
Wednesday 23rd January 2019, 7.30pm
– information here

Philharmonia Orchestra/Peter Eötvös/Iveta Apkalna/László Fassang: ‘Bartók, Stravinsky & Eötvös’
Royal Festival Hall, Southbank Centre, Belvedere Road, Waterloo, London, SE1 8XX, England
Thursday 7th February 2019, 7.30pm
– information here

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