Part One is here. If you want a better of what was actually happening at the HCMF this year, go over to 5:4 for detailed reviews of practically everything.
I arrived in Huddersfield just in time to hear the Quatuor Bozzini play Jürg Frey’s second and third string quartets. Both nearly half-an-hour long, the second quartet was composed over the turn of the century, the third a decade later. The second quartet sustains a constant mood and method – hushed, isolated chords are played in unison, with recurring harmonies partially obscured by the whispering of the bows against the strings. We’re back in the musical world of toying with extremes.
The third quartet reveals a clear and immediate contrast, with Frey’s recent style. It’s almost “classical music”, albeit on its own terms, within a very attenuated space. Isolated chords appear again, but speaking more fully. More prevalent are the passages of harmonic sequences. Some counterpoint emerges, through long-held notes sustained over an accompaniment of alternating chords. There is phrasing and variations in dynamics, from soft to very soft. Every now and then, a long-held chord acts like a cadence by means of its simple consistency, with tiny variations in timbre and balance becoming perceptible. All this variety suggests a teleology, a functional structure, but the start and the end sound arbitrary – as indeed does all of the middle. Like Morton Feldman, Frey has become a master of non-functional harmony.
Frey’s found a path of moderation away from some of the extremes of his earlier music. Moderation is too often seen as a bad thing in itself, a deviation from a pure ideal*. The night after hearing Jakob Ullmann’s solo IV, I was at the premiere of his 90-minute sort-of concerto la segunda canción del ángel desaparecido. Once again, I find myself wondering if I’m listening to this the right way. It’s always disturbing when an artist delivers you something other than what you expect. Hearing Ullman’s Son Imaginaire III at Huddersfield a couple of years ago was a concert-going experience that still looms large in my memory. la segunda canción was a surprising moderation of his usual aesthetic, albeit again within a narrow range. Two percussionists did a superb job of adding detail and texture without disrupting the typically fragile surface of Ullmann’s music. Even more surprising was the distinct layering of different dynamics, with a trio of winds (bassoon, basset horn, flute) sounding out above the string quintet. For Ullmann, it was almost strident. The strings would periodically burst into soft, agitated chatter.
I had problems listening to this. The difference in dynamics seemed to separate out the winds and strings too much, with little interplay between the two groups (which were also physically separated, horizontally and vertically). Too often the strings sounded like accompaniment, and when the winds were silent the material they had to play increasingly sounded repetitive and dull. It may have been just because I was hoping to hear something else, more of what I was used to. Again, I got worried I was listening the wrong way.
* What’s really disturbing is an apparent narrowing of aesthetic parameters, where approaching an extreme seems like the only way out of the current impasse. Moving away from an extreme comes across as a pulled punch, like the more famous minimalist composers who were unable to develop their signature style beyond diluting it. Listening to the more “conventional” compositions at the HCMF, there’s a general sense of being trapped where expansion beyond the new seems to be just like a return to the old. (Might expand on this later.**)
** This paragraph was jotted down after a few quick whiskies between gigs, as fortification against the weather.