Summer has been cruelly disrupted, but not before I got to take in all of this year’s Music We’d Like To Hear season. I got to write about the 2018 season in more detail for last January’s issue of Tempo, but I still need to get a few things down about the concerts just passed.
It was the programme’s fifteenth anniversary and ended with their fiftieth concert. The 2019 series began with a recital for violin and piano by Mira Benjamin and Philip Thomas. The term ‘recital’ here perhaps ought to be used advisedly, but this gig was the most conventionally-formed ‘evening concert in a church’ out of the three – at least on the surface. MWLTH gigs, curated by composers John Lely and Tim Parkinson, always bring a combination of the brand new, the unfamiliar and the unjustly overlooked, often reviving works previously thought lost to live performance. Benjamin and Thomas ended their gig with a collaborative work, Marc Sabat and Matteo Fargion’s duet YOU MAY NOT WANT TO BE HERE (after Bruce Nauman). The words from the title phrase (taken from Nauman’s Poem Piece) were spoken in various permutations, or substituted with pitches on violin or piano. As twilight slowly faded through the church windows, slow exchanges between voice and instrument, instrument and instrument, untreated and prepared piano sounds inculcated a state of mesmerisation in the audience, subdued but held in suspense. I had to remind myself that Naumann was not directly involved in the composition of this piece – that impression may have been helped along by Parkinson worrying aloud in his introduction that the piece may rub some people the wrong way.
The concert began with Thomas Stiegler’s Inferner Park, a set of thirty-one slender pieces and fragments that skirted the boundaries between charming, obstinate and foreboding. The work is named after Paul Klee’s set of drawings. Works by Nomi Epstein, Tim Parkinson and Georgia Denham seemed to work together to form a sort of deconstructed violin sonata, each providing a distinct, isolated aspect of the players’ roles in the form. Epstein focused on gesture, attack and colouration, Parkinson on material with minimal interpretation, Denham on sonority and sentiment.
[…] (Part 1 here.) […]