I’ve been getting to know Catherine Lamb’s music. Listening to the CD of her trio three bodies (moving) from Another Timbre has been one of the year’s high points, along with her vocal work Dilations and recent orchestral piece portions transparent/opaque. The immediate point for comparison is Morton Feldman’s music: apart from the obvious preoccupation with a similar soundworld of hushed stillness, there are similar concerns with the contradictory impulses towards feeling and form and the tension in maintaining a balance between the two. She also says, rather reassuringly, “I am open to the bland”. There’s this quality many composers have struggled to define, of impassive beauty in stasis, non-demonstrative; the quality Feldman sought when he “tried not to push the sounds around”, that Cage praised in Satie wanting to make Socrate “white and pure like antiquity”.
Last Thursday Konzert Minimal played Catherine Lamb’s material/highlight at Cafe Oto, so I had to be there to hear it live for myself. They also played Antoine Bueger’s meinong nonets, which I was eager to hear for a different reason. I wrote a bit about hearing Beuger’s en una noche oscura last year and how it left me unimpressed. Sadly the second chance at hearing Beuger live only reinforced my opinion. I described last year’s exposure as “stilted and precious, disappointingly inert” and came away with much the same impression this time.
The Lamb piece didn’t work for me on the night, either. There’s bland and then there’s bland. Worse still, material/highlight, which was played first, sounded pretty much as what I remembered the Beuger sounded like, which the subsequent piece then confirmed. I’m looking at the reviews of three bodies (moving) and I find this: “a feeling of richness and harmonic depth that separates Lamb from most of the music of the Wandelweiser composers.” It’s a pity that distinction is missing from material/highlight.
I’ve got a problem with Wandelweiser (of which Beuger is a co-founder). I’ve got a problem with any art movement really (a sure sign of lots of distracting chaff), but what I’ve heard of Wandelweiser that impresses me the most is the way so many composers have found so many ways to write music that sounds the same. Long, soft tones. Pauses. It’s not just those stilted, precious, inert qualities that in themselves make the music uninteresting; it’s the sense that everyone’s working very deep within a comfort zone, that nothing is open to risk of any sort. It’s like a collective failure of nerve that’s permeated music over the past few decades: holy minimalists, lower case glitch musos, post-Feldmanites, Wandelweiser, all struck dumb in awe of their meagre materials, held in abeyance for fear that a false move is worse than no move at all.