There was another typically eclectic Kammer Klang night a couple of weeks back (the music of Christian Wolff, Vinko Globokar and… Chicks on Speed?). A new piece by Wolff received its premiere, Wade In The Water for violin and piano.
There’s a common criticism frequently made about Wolff’s later compositions. Simon Cummings neatly summarises this problem, that Wolff’s music is “sufficiently disjointed and internally inconsistent that it simply sounded incompetent.” As someone who enjoyed the performance of Robert last year, I’ve begun to think that Wolff has actually made a sort of aesthetic breakthrough. There is no deep harmonic interest in his music, no contrapuntal interest other than by accident, no sense of teleology, structure or process, rhythm and melody that’s arbitrary and nondescript.
All this negation of musical attributes has been done before and has resulted in types of music that were, at first, new. Drones and types of minimal music come immediately to mind. Pieces like Michael Pisaro’s Mind is Moving IX, discussed before, also fit this description. Wolff has done something different, retaining just enough of conventional musical expectations to disguise the fact that his music is working on a different level.
It comes back to Wolff’s associates, Cage and Feldman. The idea of “letting sounds be themselves”, outside of serving a functional hierarchy. The focus on sound over pitch. Cage used chance to break up conventional musical logic. Feldman used indeterminacy. Both are alienating devices, both for musician and audience. Late Feldman used repeating motifs and patterns as a vehicle for conveying instrumental timbre and pitch as an end in itself. Wolff’s late music works toward the same end by alienation through banality, removing any interest in the listener for his “material”. He is the anti-Feldman.
By the same comparison, I’m finding that Wolff’s pieces are all different in the way that they are all the same. Wade In The Water‘s directionless meandering took on its own mood, with sudden but passing gestures of impatience or urgency that soon dissipated, stronger hints of playfulness and austerity from one moment to the next. A lot of this was due to the playing of Aisha Orazbayeva on violin and Joseph Houston on piano. They preceded the premiere with a realisation of a Wolff score from his earlier, more respectable careeer, the indeterminate For 1, 2 or 3 People. Their performance was exemplary in its subtlety, constrained richness and coherence. It went a long way to informing and illuminating Wade In The Water.
From the seventeenth to the twentieth centuries Western aesthetics were founded upon a fraught consensus of taste. The romantic understanding of art that was naturalistic and intuitive became, strangely, a social agreement on what constituted a sufficiently congruent analogy to its subject. This was a question of subjective judgement, which brought with it a greatly increased risk of failure.
Those old romantic notions still pervade contemporary culture, possibly more so in music than any other art form. There are, however, some composers who work in engagement with these ideas – this is different from accepting them or submitting to them. Back in March I heard Reinier van Houdt play two piano pieces: Walter Marchetti’s Per la mano sinistra and Michael Pisaro’s Green Hour, Grey Future. Both works are long and make use of pauses, isolated chords, notes, brief fragments. After a while, you think there may be some repetition or recapitulation at work, probably. The scale of the work and the dynamics recall late Feldman, but there’s none of Feldman’s patterning or obvious sectional movement. In this respect each composer seems to have allowed themselves more freedom to wander, and possibly extended this to the performer, too.
The Marchetti piece meanders purposefully, a soft-spoken but poignant monologue. The Pisaro piece isolates individual piano sounds, using silence as their context. In fact, both works are accompanied: the Pisaro with electronic tones that colour and shadow the piano, the Marchetti by an umbrella, held in the pianist’s left hand throughout, leaving only the right free to play.
When isolated sounds are separated so far by silence, how do you know that it’s music? I’ve been listening to another solo piece by Pisaro, Mind is Moving IX for electric guitarist. This is another recent release on the Intonema label, which I wrote about a little while ago. Recording this piece was a two-year process: “we made several recordings in different spaces, listened and discussed all the details with the composer and the performer” before capturing the final version released on this CD.
Without an independent electronic part, Mind is Moving IX sounds even more sparse and austere, to the point of breaking up any sense of musical continuity. Single, separated notes of various length; towards the end a descending sequence of intervals becomes a major development. Occasionally there is a long tone on bowed guitar or, in contrast, the guitarist whistling, or static from a small radio. There is a clicking of stones at certain points. Each element seems to appear more than once during the piece, suggesting some faint traces of an overall shape.
As suggested above, the piece depends heavily on how it is interpreted and performed. Those “details” that were discussed, on what did they depend? The sense of timing becomes critical. The qualities needed to make the piece succeed are the same that can make it fail: we’re back into the realm of taste. With a reliance on personal judgement, the challenge becomes immense. You can hope that you’re immersing yourself in the nature of the music, away from aesthetic second-guessing, but always have the fear that your interpretation is a more or less accurate approximation of aesthetic decisions previously heard in other music. In this recording, Denis Sorokin’s performance seems as finely nuanced as you could hope for, with a sufficiently dispassionate seriousness.
Circumstances have dictated that I don’t do Eurovision any more, but some thoughtful people have contacted me to say they like the Drinking Game and asked if there are any amendments.
I have never watched the semi-finals and recommend that you should just stick to the final. Eurovision is best played stud, with every entrant in the final coming as a complete surprise.
The voting system has changed again, with a 50/50 weighting between jury votes and phone votes. Looks like there’s no on-screen breakdown of phone votes this year either; a cunning subterfuge to further disguise the influence of local politics. Don’t know how this will play out on the telly but by this stage of the night everyone’s a bit vague anyway, so all drinks are catch-as-catch-can.
(Yes these things have all happened, in case you’re wondering.)
At the first appearance of the presenters, drink to the health of Masha and Pasha.
PHASE I: THE SONGS
A. Every instance within a song:
I.A.1 The Dramatic Key Change. Whenever the singers dramatically shift up a key for the final chorus(es).
I.A.2 The Bucks Fizz. Whenever performer(s) sheds a piece of clothing – once only on every instance, whether executed by an individual or as a group. Finish your drink if the clothing loss is obviously unintentional.
B. Once per song only:
I.B.1 Is That English? Whenever someone notices that the singers have switched from their native language into English in an attempt to win more votes. Two drinks if they try to dodge the language issue by intentionally singing gibberish.
I.B.2 The Fine Cotton. Any appearance of mercenary talent flown in to represent a foreign country. Two drinks if they’re Irish.
I.B.3 Las Ketchup and the Waves. A country drags a legitimate, real-life, one-hit wonder out of obscurity in the hope that name recognition can buy them some points. This is additional to I.B.2.
I.B.4 The Cultural Rainbow. Every time an entrant blatantly rips off last year’s winning performance. Finish your drink if last year’s winning country rips itself off.
I.B.5 The Wand’ring Minstrel. Unless it’s a solo guitar or piano, Eurovision insists on backing tapes. It’s in the rules, so don’t accuse some entrants of cheating; but take a drink if performers pretend to play a musical instrument (or simulacrum thereof) in a blatantly fake way, as part of the choreography. A second drink is permitted if a subsequent, different wave of faux-minstrely rises after the first has subsided.
Greeks RussiansGreeks (formerly The TaTu). Finish your drink if the audience boos (on the telly, not in your living room.)
I.B.7 Don’t Mention The War. The German entrant sings something about everyone being happy. This is a legacy rule, as in recent years it has largely been supplanted by…
I.B.7a Don’t Mention The Wall. The Israeli entrant sings something about everyone being happy.
I.B.8 My Lovely Horse. Any obvious indication that a country is deliberately trying to lose, to avoid budgetary/logistical/political problems of hosting the event next year.
PHASE I ADVANCED PLAYERS ONLY:
I.B.5a The Wand’ring Minstrel (supplemental). Two drinks if the instrument is an accordion.
I.B.9 The San Remo. Any occurence of visible armpits and/or pointing at nothing in particular. Two drinks for a hairy armpit.
I.B.10 The White Suit. You’ll know it when you see it; and you’ll know it again when you see it again, and again…
PHASE II: THE VOTES
II.1 The Wardrobe Change. Each time the female host changes frocks. Two drinks if the male host changes suits.
II.2 The Gimme. When Greece maxes out its points to Cyprus.
II.2a The Gastarbeiter. If Germany still gives twelve points to Turkey.
II.3 The Old Europe. When the UK gets nul points from France.
II.4 The Sympathy Vote. When anything sung in French first gets a point, and/or the last country without any points finally gets off the mark. A special toast at the end to any country which did not receive so much as a single vote.
II.5 The “Viktor, You Very Unattractive Fellow.” Two drinks if the hosts speak in rhyme and/or pretend to flirt with each other. Finish your drink if the flirting is serious.
II.6 The Wogan. Any blatant display of favouritism between particular countries in the jury, or a hasty correction by a flustered announcer when reading out results. Keep an eye on Russia, Ukraine, Azerbaijan, Armenia, and anomalies in German votes for Slavic and Balkan countries.
PHASE II INTERMEDIATE: You and your friends probably will be too unruly by this stage to register every occurrence of these, so a liberal interpretation is allowed.
II.7 The Hurry-Up. Every time the announcer from each voting country is politely asked by the hosts to shut the fuck up (i.e. “Can we have your votes please?”). Two drinks if the announcer tries to deliver a personal message to a friend or relative watching at home.
II.8 The Sandra Sully. Each time an announcer reads the voting results wrong. Two drinks if they get so confused they have to start over.
II.9 The Sally Field. Each time they show contestants backstage during the voting looking genuinely surprised and pleased with themselves when they get the same politically-motivated votes they get every year.
II.10 The Master of Suspense. This hasn’t happened for a few years but people might get confused by the new rules: each time an announcer fails to understand that the pause for suspense only works if they announce the twelve points first, then the country that has won them – not the other way around.
PHASE II ADVANCED PLAYERS ONLY:
II.11 The New Europe. When the Baltic or Balkan states all vote for each other, or a former Soviet republic votes for Russia. Do not attempt without medical supervision.
W0: Australia! Any person may lead a toast at any time amongst all drinkers by shouting “Australia!”, “Aussie!”, “Oi!” or any suitably positive Australian word or noise. This can happen any time during the night as many times as wished for no reason whatsoever because OBVIOUSLY NOBODY AT EUROVISION GIVES A SHIT ABOUT THE RULES.
W1 A person must finish their drink if they ask:
W1.a why Israel is in it;
ItalyTurkey isn’t in it;
W1.c where the hell is Moldova?; or
W2 Drink to any display of national resentment or self-pity related to current events. Pay close attention to Greece/Germany, Ukraine/Russia, Armenia/Azerbaijan, Australia.
W3 A toast to Bosnia and Herzegovina if they change the spelling of their country again from last year.
W4 A toast to the first person who expresses dismay when they realise how long the voting is going to take.
W5 A toast to the person who gets so drunk you have to secretly call a cab and persuade them they ordered it when it arrives.
I’m getting Wandelweiser from all over. First Sheffield, then Bilbao and now St Petersburg. Intonema sent me a nice little package and it’s taken me too long to write about it. There’s a Michael Pisaro disc I want to discuss a bit later, but my attention was first taken by a new release of Stefan Thut’s music.
Again, pretty much everything I’ve heard by Thut is from the Wandelweiser und so weiter box set Another Timbre released a few years back. un/even and one is a work Thut first performed and recorded with an ensemble in St Petersburg last June. At first, it seems a type of performance art, a theatrical activity whose fugitive sounds have been caught on tape as with the recent recording of Manfred Werder’s 2015/3. Cardboard boxes are being shifted, manipulated. The effect is reminiscent of some of James Saunders’ scores which call for scripted activities with sheets of paper or found objects, a sonic arte povera. The plot thickens as these sounds are coloured with musical instruments: saxophone, violin, cello, bowed guitar. With no visual cues to reveal the theatrical elements, sounds emerge, accumulate and fade as though produced by a slow but powerful force of nature. This sense of organic process, and the feeling of sourcelessness given to the sounds, evoke a feeling reminiscent of John Cage’s last works.
Thut’s piece takes this musical idea into a weird, ambiguous realm with his use of electronics. The cardboard and other sounds are recorded and played back through a small speaker attached to the largest box. The sounds blur between live and recorded, instrument and object, with an attenuated rumble. Any clear sense of activity, cause and effect is lost, leaving us with a mysterious, unknowable music. It’s one of the richer, dirtier examples I’ve heard from the Wandelweiser school and recommended for those who worry about this music getting too precious and ethereal.
The most delightful surprise so far from this package has been the CD credited to Songs, a Berlin-based quartet of composers and musicians. 1 & 2 features two compositions by the Australian trombonist Rishin Singh, who I haven’t heard before. I have heard and enjoyed the composer Catherine Lamb, who plays viola and sings here, so I put the disc on. The first piece, Six Scenes of Boredom, features a trio playing slow, almost quaint chord changes, occasionally enlightened by a female voice singing brief, pithy phrases. There’s an air of eccentric decay that’s quite English in character. I mean it as a compliment when I say it would fit nicely on a 1970s LP released on the Obscure label.
The real revelation here is Three Lives, a work almost half an hour in length for two female voices, bass clarinet and trombone. Long held tones, very little movement in pitch from one breath to the next. It feels like a single reflective moment, frozen in time. Strangely, any development in melody goes almost unnoticed when I listen, as though it were a lesser concern, until one quiet but significant shift. The two voices, each apparently untrained, sing as though a single voice echoed or multiplied. Clarinet and trombone play beautifully together, the latter almost unnoticeable, perceived only as a soft echo. In contrast to this stillness, the recording makes no attempt to conceal blemishes. The recording is obviously live, with faint background sounds audible, locating the music in a place and time. Against this background, four musicians briefly hold time in suspense.
This month, I’m pretty excited about giving a public airing to the biggest piece of music I’ve made. A section of my 18-hour piano piece Antisonata will be playing as one of the sound works at the Speeding and Braking exhibition.
Speeding and Braking: Navigating Acceleration is a conference with exhibitions and performances at Goldsmiths College, London, from 12 to 15 May 2016. You can hear Antisonata and other sound works on Saturday 14 May, from 10am to 5pm at G05, St James Hatcham Church on the Goldsmiths campus. Free entry.
Antisonata is the piece that plays all 555 of Scarlatti’s keyboard sonatas at the same time but very, very slowly; so slowly that they take as long to perform as if played one at a time.
Managed to make it to the latest Kammer Klang gig at Cafe Oto (it’s available in streaming audio for the next few weeks). For years they’ve been putting on regular nights featuring a clash of eclectic genres, mixing High Art Modern Music with improvisation, live electronic performance, pop etc. It’s a neat combination which manages to avoid labouring a theoretical point or trying to force one genre to somehow validate another. The big events this evening were the performance of Michael Finnissy’s chamber violin concerto “above earth’s shadow…” and a live electronic set by John Wall.
I just read a statement by Peter Rehberg that “laptop music stopped being interesting when the computers stopped crashing”. It’s a stupid, sentimental thing to say, up there with saying Hendrix wasn’t so great because he used effects pedals. I’ve been to a number of Wall’s gigs now, all improvised sets with his laptop and superb examples of what a devastating sonic and compositional tool the small computer can be when in the right hands. I’ve always been impressed by the way he holds in suspense the conflicting demands his music makes: the free-ranging spontaneity of sounds, an intense technical focus on details and a constant awareness of an overall compositional shape.
The Kammer Klang night was unusual in that Wall started with one of his ‘fixed’ compositions, Cphon from 2005, followed immediately by an improvisation. (The two are played separately in the radio broadcast.) In Cphon the sounds leak out as though under some pressurised constraint, with isolated sounds in narrow frequency ranges – often very high – and occasional brief activity slipping through thin, sustained pitches. This sound-world steadily mutates over time, revealing more depth and detail but still with everything kept on a short leash throughout, allowing the sounds to be intimately revealed without ever being fully released to let rip in a sensory outburst.
The following improvisation was immediately noticeable for the change in sonic materials but with no easily noticeable enlargement of possibilities permitted by the intervening decade of technological advances. The sounds became wider in range, producing an inexhaustible variety of tones and colours throughout the piece. Seemingly influenced by Cphon, a similar attitude of restraint was applied, extending and elaborating on the previous work instead of drawing an obvious contrast.
Making music live is always very different from working with a recording, whether on paper or on tape. There’s a theatrical element, and a social element which must always be addressed to be sure that the music has gotten over with the punters. Wall perhaps minimises this by typically sitting behind the audience and focusing on the music coming from the PA. In any case, listening back to the radio broadcast I’m surprised at how well it works as a recording, with its own musical internal logic and free of the unspoken dictates of entertaining a room full of people with booze.
Earlier in the night, violinist Oscar Perks with an ensemble conducted by Mark Knoop did justice to Michael Finnissy’s “above earth’s shadow…”. Finnissy is one of Britain’s foremost living composers; he turns 70 this year so the performance was a fitting tribute. Although the piece is now over 30 years old, this seems to have been only the third time it has been played in the UK, so it may as well be new to us. In 2012 the Proms held a matinee concert in Cadogan Hall which included the British premiere of his 2nd Piano Concerto, written some 35 years earlier. I think Finnissy has had one piece played at the Proms since then. For this year, the usually anniversary-happy Proms have programmed sweet F. A.
I’ve been listening to a lot of music which I should talk about, both live and on CD. The CDs will come up later; for starters I’ve been thinking about this concert at the BBC Studios in Maida Vale a couple of weeks ago.
Brett Dean was conducting the BBC Symphony Orchestra on a programme of modern Australian composers. It’s the type of programme I’d normally shy away from – because of, not despite, being Australian and having heard concerts organised on the same premise back home. When a large institution is involved – an orchestra, a national broadcaster – things usually attempt to be overly safe and overly “representative”. The latter principle manifests itself in trying to cram in a number of slighter, lesser works by a broad variety of composers which don’t really gel together. Like new music in the UK, Australian music in Australia still needs to defend its own small space.
Regardless of any national slant, Dean’s programme of works was beautifully focussed, illuminating a particular thread of musical thought found in a group of diverse Australian composers working today. The introduction to the programme notes made this intent clear, to look beyond the customary identification of Australian art with the unique nature and landscape it inhabits. More importantly, the concert portrayed Australian music as being distinguished by an engagement with the rest of the world, building an increasingly complex dialogue with other cultures.
For a long time, the question of identity in Australian art was often framed as a debate between two sides, pro- and anti-. On one side, “internationalists” would deride parochialism (and imitate any new avant-garde trends in Europe and America) while “nationalists” would chauvinistically promote a local vernacular (and imitate one particular trend in Europe and America). It’s a mindset that’s hard to shake off, particularly if you make decisions for a funding body.
The concert opened with one older work, Richard Meale’s Clouds Now and Then from 1969. It’s a significant work, with its musical language derived from Messiaen and its static, contemplative form inspired by Basho’s poetry. Incorporating ideas from Europe and Japan, it floats between worlds rather than seeking dependence on one or the other. This give-and-take continued through the concert, both musically and biographically. Some of the composers – Thomas Meadowcroft, Anthony Pateras, Lisa Ilean – now live in London or Germany, while Georges Lentz was born in Luxembourg and moved to Australia in his twenties.
Ilean’s Land’s End drew upon a similar sound-world to Meale, enhanced with microtones. Meadowcroft’s Peacemaker Tattoo and Dean’s own Engelsflügel confronted European composers directly, Mahler and Brahms respectively. With Dean, it was a passionate exploration of musical ideas; with Meadowcroft, a modest, somewhat deflating side-step, equal parts deference and aversion. Lentz’s Caeli enarrant… III is an eclectic procession of disparate elements unified by the composer’s personal spiritual vision, combining Christianity, Tibetan Buddhism, astronomy, serialism, chance and silence.
Both Meadowcroft and Pateras in his violin concerto Immediata appeared as performers, using an open-reel tape deck to record, play back and manipulate sounds in real time. (I’m an old friend of Pateras so I’ll try not to get too enthusiastic.) Immediata was built out of an eclectic, disruptive improvisation, elaborated by divergent combinations of instruments. Pateras recorded soloist Thomas Gould’s amplified violin and proceeded to speed, slow, warp and distort the sounds, at times going off into cadenzas of his own, in a manner reminiscent of the electronic interpolations of Varèse’s Déserts. There’s a tension between the music that’s fixed and that’s ephemeral, between the notated and improvised both in origin and performance, and of preservation and loss where, perversely, the tape recording is discarded and the piece must persist through performance of the written score.
I think BBC Radio 3 expects to broadcast this concert in August this year.
Tony Conrad died yesterday. It’s hard to disentangle his importance as an inspiration, a personal example to other musicians and artists, from his music so I’ll start by quoting something I wrote about his musicianship, when at its best. “Not just an unerring sense of what sounds good, but a sense of structure, of a meaning that goes beyond its own craft.”
I saw him play live on four occasions and was once accidentally invited to dinner with him at the Supper Inn in Melbourne. You couldn’t help but be aware that you were in the presence of a living figure from history and it was hard not to consider him an accessible ambassador from a particular mythology. Conrad’s real importance and influence on those mourning him today comes from what came after. In the last 20 years so many musicians have taken on ideas they learned from him.
That there’s always another side to the story, waiting to be revealed. That the “minimal” in music can have its rough edges and expressiveness. That there’s more than one way to learn from the past. That persistence pays. That received wisdom can be challenged. That constant work and honing your craft is essential. That it’s not too late.
I feel bad about not posting anything all month, so I’m reissuing an old, out-of-print CD as a download. Hentai-Oto-Ma: last pieces for digital synthesis 2001–2006 is pretty much what it says it is. A collection of pieces made using various inexpensive and freeware granular synthesis programs on both audio and visual samples. There was a limited run of CDs made for this album but I think they’re all gone now, so I’ve made it available again as a download on Bandcamp. I’ve written more about each of the pieces elsewhere on this site.
For this new release I’ve made a few minor tweaks to the sound. Really wide dynamic ranges are annoying me at the moment and I never liked the “brick wall” limiting the generating software imposed on a couple of pieces. That’s fixed now.
You get a funny crowd at Wigmore Hall on a Saturday night. Some punters come just because it’s am awfully nice venue and they fancy an evening of refined entertainment. There was a slight but steady rate of attrition throughout Apartment House’s programme. The visiting American and her English hosts in my row were bemused at first but in the end seemed to enjoy it enough.
At least they didn’t have to deal with any stereotypical “ugly modern music”; nor did they have to appreciate any efforts by “accessible” contemporary composers which they could say were nice enough but not as good as the real 19th century thing. The gig started in a puzzling enough fashion, with the première of Luiz Henrique Yudo’s 2007 piece A QUARTET FOR CLAUDE MOLLET. Like the Yudo piece I heard at the last Apartment House gig, it’s a grid of not-quite-exactly-repeating figures. This time, a string-quartet see-sawed back and forth between notes, gently but obstinately. The patterns seemed to change a bit between pauses. Probably. Later in the evening, another Yudo piece, A QUARTET FOR FRANÇOIS MORELLET from 2012, apparently made use of chance and presented a smoothly shifting web of overlapping chords.
This is why I keep writing about these guys; they play stuff I’m interested in hearing for myself. There’s the emphasis on music as an artform, in which technique (both in composition and performance) is not an end in itself but a means to eliciting a profound response in the listener without appeals to literature or drama. There is the element of discovery and of rediscovery. Apart from giving first hearings to the two Yudo pieces, each several years old, the programme included three other world premières and a couple of older, obscure works. The older pieces, by Henning Christiansen and John White, were redolent of the cultural context in which they were created, Fluxus and the Scratch Orchestra, respectively. Both represent schools of composition too often dismissed today as historical relics, fit for discussion but not to be experienced.
Christiansen’s Modeller were written in the mid-1960s but not performed in Britain until now. They seem strangely ahead of their time: short fragments, provocatively simple. Mostly performed by a solo pianist, with occasional interruptions from the strings, harmonium and percussion near the end. One part, of unadorned oscillating thirds, effectively anticipated Philip Glass’ piano music by 20 years. The familiarity was an odd sensation, but that didn’t last long. The Modeller never stayed around long enough for the listener to get fully comfortable. At the end, the ensemble repeated an ascending arpeggio in unison, whether by accident or design imitating the beginning of the Blue Danube Waltz without ever progressing, with an increasing sense of finality.
White’s Newspaper Reading Machine (circa 1971) amused my neighbours, being pretty much what the title implies. Any sense of the piece being a dadaist stunt was tempered by a musical system clearly underpinning the performance. They also liked Egidija Medekšaitė’s Pratiksha. The new works all suggested a common heritage of assimilating the more vital musical philosophies from the last century and synthesising them into something different. The use of systems, of chance, awareness of visual arts, of music as a social activity, the rejection of dogmatic allegiance to a particular system of organising pitch and harmony, all appeared in various guises.
I’d never heard anything by Martin Arnold before. The way people were talking about him before the gig suggested that I’d been missing out. They were right. His new piece Stain Ballad is incredible; striking in its mysterious ambiguity, fragile but indelible. The music shared an aesthetic that Morton Feldman aspired to, of “having mood” without being “in a mood”. As I typed this, Philip Thomas, the pianist that night just tweeted he was listening back to the piece and is “in tears… fresh, complex, meandering, intricate, lovely.” Looking back, I’ll still remember this piece as one of the highlights of the year.
Looking very Goth, something else I received in the swag from Nueni Records. I’ve only heard a couple of pieces by Bryan Eubanks before, both at last year’s Cut And Splice festival. Both were kind of reminiscent of Alvin Lucier. This is not.
The Bornholmer Suite is a set of 50 pieces, each one minute long. The music is made from electronic feedback on a circuit board. According to Eubanks, each configuration of the circuit is left alone to sound for one minute, with “slight changes” made between each piece. As a composer who has worked a lot with feedback circuits of different types over the years, the types of sound were immediately familiar. I’m too close to this type of music so I can’t review it dispassionately; it just flags up all sorts of problems I have when working with this medium.
Feedback can produce a wealth of detailed sounds, but it’s hard to figure out what to do with them. It gets too easy to turn out sound and become too absorbed in the process of making it, or just get caught up in a bunch of different timbres without considering them as part of a coherent musical experience for the listener. With The Bornholmer Suite Eubanks seems to be attempting a way out of this dilemma by presenting the set of pieces as an objective, experimental process. Each configuration gets one minute, with no privileging of material. Each piece is presumably a modification of the preceding circuit. It carries a type of logic, but it does feel a bit like Eubanks is dodging the whole question of how the Suite may be considered as music.
Most of the feedback circuits produce a sound that remains fairly constant, with little sense that they would show any greater variation, instability or mutability if left for a longer period of time. This kills any feeling of momentum as the number of pieces rack up. My personal prejudices kicked in a few times when certain sounds cropped up that I’d produced in the past and instinctively rejected. I’d like to know more about how simple the circuit is. The CD really presents a dilemma. Do you hear it as a disconnected catalogue of technical exercises, or as a suite of etudes elaborating on a common theme?
More text scores and more original Wandelweiser, from Manfred Werder. For the past ten years Werder has been composing music in which the score consists of a found text object, a quote from a poem or from philosophy. Nueni Records from Bilbao has just released a first recording of one of the most recent in the series, 2015/3. The music is actualized by Regler, the duo of Mattin and Anders Bryngelsson. It seems that Werder composed the piece for them.
The text is from Walter Benjamin’s essay “One-way Street, Halt For Not More Than Three Cabs”:
through excessive fatigue i had thrown myself on my bed in my clothes in the brightly-lit room, and had at once, for a few seconds, fallen asleep
The CD comes with no sleeve notes, but the quote (and thus the score) is printed on the front cover. We get as much information as the musicians did, with no post-facto explanation. Already, we’re dealing with appropriation as art: a common enough practice in visual art but still unfamiliar to music. (Sampling and quotation are forms of collage and a different matter.) We’ve all heard music inspired by philosophy but Werder’s piece is philosophy, even though it might be through some strange, cannibalistic understanding of the concept.
I’ve heard a couple of other pieces from Werder’s series, as part of the cryptic Rosetta Stone Wandelweiser und so weiter released by Another Timbre. There’s an excerpt from 2011/4 on Youtube. There’s the foregrounding of silence and ambient sound, with the musicians adding light and shade.
Apparently art is supposed to make us perceive things differently, but then there is art where we have to change our ways of perception before we can recognise it for what it is. This situation isn’t the exclusive preserve of the avant-garde. We can’t look at, for example, mediaeval woodcuts and see what their creators and intended audience saw in them, except through intellectual exertion. Regler’s actualisation of 2015/3 is something we almost cannot hear, even if we listen, even if we register the sounds.
The two photos inside the CD cover, once again, reveal everything and explain nothing. They reinforce the unmistakeable impression you get when you first play the CD. Mattin and Bryngelsson take a nakedly literal approach to the score: they set up their equipment in their studio then fall, or try to fall, asleep. Any unintentional sounds that can be heard sound truly accidental. The musicians may be engaging with the score but they are evidently, resolutely refusing to engage with the listener.
The CD is ostensibly silent, in the way that a performance of Cage’s 4’33” is. But there are disruptions (the dynamic range on this recording is very wide) and any musical silence here is obviously the result of necessary activity in actualising the score. The extreme quiet in this performance is harsh, and a provocation. Are we listening to it the right way if we feel provoked?
Mattin, at least, has a reputation for provocation. In 2004 I witnessed him give one of the best silent concerts I’ve heard.
I thought I’d heard the piece after playing it once. Then I played it again and realised I’d been listening to something else. The distant, muffled sound of sawing wasn’t there. It must have been a neighbour doing some repairs. The very faint sound of stacking dishes is, I think, on the disc but I’d rather play the disc again another time than rewind to find out.
This piece can’t be listened to as a field recording or a version of 4’33”. It’s a performance with an uncompromising objectivity, much in the way that recordings of avant-garde music from the 1950s and 60s sound forcefully radical today when compared to more polished recent performances, which can often seem too aestheticised in comparison.
A few months ago I noticed the change in Jürg Frey’s music in recent years, when discussing two contrasting but very fine albums of his earlier and later music. A similar impression was made by the concert of his 2nd and 3rd string quartets by the Quatuor Bozzini in Huddersfield last November: that Frey is moving away from ideas and towards music. Frey has long been associated with the Wandelweiser collective, but his recent music has been compromising the “purity” Wandelweiser’s reverence for silence. With this supposed loss of aesthetic purity, Frey has embraced a purity of sound.
After releasing the quietly beautiful Grizzana album, Another Timbre released a CD of Philip Thomas playing Frey’s recent piano music at the end of last year. I previously wrote of his third string quartet that Frey was joining Morton Feldman as a fellow master of non-functional harmony, adapting some of the more rhetorical elements of classical and romantic music, but piecemeal, on his own terms and his own ends. In this piano music, most of it composed between 2010 and 2014, there is a similar sense of exploration, without any perceived goal, to that found in Feldman’s “middle period” before he discovered the tenuous equilibrium found in repeating patterns.
At that time, Feldman was also moving away from abstraction and responding to the need to create melodies (“big Puccini-like melodies”). An interview on the Another Timbre website shows Frey seeking a common solace in a material understanding of music, and in negotiating the paradoxes that arise when wanting to compose without disturbing the music’s material.
When composing for the piano, the notion of harmony is more prominent – although we know all the (lovely) extended techniques that have been developed for the piano, to make it sound unlike a piano. But yes, the piano remains the instrument to represent harmony…. When I write for piano, I shouldn’t rely on the piano itself, but on the composition. The piano gives single notes, dyads and chords too easily. Also, if I write consonant dyads, it could suddenly sound wrong, ironic, like a quotation rather than the real sound. In this context to compose means to build a basic confidence in the clear and restricted material that you are working with.
The shorter pieces have a meditative quality, alternating between pedal tones and chords. The longer pieces take on a resemblance to a journey through a succession of musical terrains. Sometimes progress is slow, tentative, with long periods stranded in one particular harmony or register, before unexpectedly moving on. It becomes clear that the journey is its own destination. If there is a structure underneath it all, Frey does his best to conceal or disrupt it or render it irrelevant to the listener.
The album begins with a much older piece, the brief In Memoriam Cornelius Cardew from 1993, with a tonal palette that anticipates the later works. Has Frey allowed a space for emotional expression in his new music, however abstracted? It’s interesting that when philosophy is raised in the interview, he demurs but admits that he feels “a closeness” to Deleuze and Spinoza, two Western thinkers who tried to reason without a dichotomy between mind and body.
The piano is close-miked on this CD, focussing on the grain of the instrument’s sounds. Thomas’ playing is softly-spoken but full-voiced – well suited to the quiet but indomitable character marking out a trail through an empty expanse, as in the longest piece on the album. It’s titled Pianist, Alone (2); a title which seems nakedly descriptive at first but takes on a narrative aspect after hearing it. This time, the protagonist is a little more experienced.
That performance of wyoming snow was for multitracked cello, played by Anton Lukoszevieze. The same piece appears twice again on the Beauty and Industry CD, but played by different ensembles. Lukoszevieze is the founder of the ensemble Apartment House, which has done so much lately to present new and neglected music. This disc dedicated to Kudirka’s music is probably the latest.
As previously implied, Kudirka writes pieces open to interpretation and several of them are played two or three times during the course of the disc. An informative interview on the Another Timbre site reveals that, although his scores are typically “open”, Kudirka is leery of the term “text score” and his musical education was grounded in playing and instrument before composition became a major concern. (“I’m great at playing music that I hate.”) He’s another one of the generation of composers taught by James Tenney and Michael Pisaro at CalArts, although he did not appear on the rather wonderful and surprising West Coast Soundings album I reviewed in 2014.
The scores for the pieces played here range from introspective variations on George Brecht’s terse Fluxus scores, to general instructions determining the form, structure and materials for the piece, to music notation that leaves unspoken questions of interpretation, instrumentation and intonation. They can also be seen on the Another Timbre web site, with audio excerpts.
The music reflects Kudirka’s background as a performer. The text scores allow a music structure and character to emerge through the musicians’ choices. In that respect they ingeniously operate in a manner similar to early Feldman or late Cage, but in a looser and more generalised way. It can’t be entirely a coincidence that this music shares a similarly slow and soft atmosphere.
When I think of other text scores (good ones) they seem to concentrate on setting into motion an overall process governed by a set of conditions, either internal like Aus den sieben Tagen or external, like Cardew’s Paragraph 7 or pieces by James Saunders. Kudirka’s seem unusual in that they focus on defining and arranging details. There’s an elegance to their simplicity, and the music emerges fully defined and subtle. The repeated takes on this disc shows that each piece has depth beyond an interest in compositional technique.
Repeated listenings reveal an unexpected variety. It’s a nicely-balanced selection of works: 14 tracks in a little over 50 minutes. Enough to be absorbed by without getting entirely lost. Some pieces are barely 30 seconds; the longest reaches beyond 8 minutes. The small scale allows attention to details and gestures. Pieces like Grey and an orchestral fantasy have a sombre formality compared to the sustained tones of Beauty and Industry or the more polychromatic wyoming snow.
A large part of this is down to Apartment House musicians, who play with great sensitivity and fidelity to the score. On each track they present interpretations which are distinctive without needing to resort to extremes, setting a consistent mood that still shifts in shading from one piece to the next.
Been listening a lot to two new CDs on Another Timbre: a new album of Jürg Frey’s piano music played by Philip Thomas, and a collection of pieces by Joseph Kudirka played by Apartment House. I need to talk about these soon but I’ve got left over business from the London Contemporary Music Festival last month. It was an incredible programme that mixed old and new, familiar and obscure in a way that took risks simply by being such an eclectic jumble of different practices and backgrounds: a true portrait of the state of “contemporary music” at the start of a century that still hasn’t a defined identity.
A long blog post by Lawrence Dunn gives an excellent analysis of many events from the LCMF, as well as the La Monte Young and other gigs at Huddersfield. (Dunn also discusses Philip Thomas playing Frey’s piano music live.) The latter part of his post goes into detail about the LCMF night “To a new definition of opera”, which still strikes me as the stand-out event in the programme. The first half of Tim Parkinson’s Time With People, which I’ve talked about before, re-appeared and its stage detritus persisted amongst the audience throughout the whole programme.
The evening ended with Stockhausen’s Pietà finally getting played in this country – a prime example of his later music being quite mad and quite wonderful. It began by plunging the audience into the verbal and visual assault of Ryan Trecartin’s video Center Jenny. Dunn’s blog links to the video and makes the excellent observation that this work connects to the legacy of Robert Ashley’s operas, in a deep and disturbing way. I can’t really agree with Dunn’s feeling that it’s the work of “the worst sort of antifeminist”. It seemed more to me that the video is about misogyny than of it, or worse, that it dispassionately picks up one unsavoury aspect of current social anxieties which, salvaged as a remnant in a post-apocalyptic future, is arbitrarily selected as the model for a future society. It could have been racism, but that’s too heavy now. The gender and social roles depicted in US sorority life are still presented as cheerfully benign, and exist in a curious cultural vacuum: through movies and TV they are familiar to everyone around the world, but unlike McDonald’s or basketball they remain utterly alien to even the most pro-American Anglophone. The average age of the audience on this night was noticeably older, and they generally seemed to find Center Jenny amusing.
I presume the older people were an equal mix of Stockhausen fans and Pound fans. The night was my chance to hear Ezra Pound’s music played live, with a potted version of his opera Le Testament de Villon played for the first time in the UK in its “un-revised” phrasing. Pound’s music is seldom heard and even when scholars of Pound the poet bring it up there’s much lip service and little critical discussion. It tends to get pigeonholed as a passing phase, one of the less harmful of his many eccentricities. On paper, it has often been dismissed as crude and amateurish: irregular meters and phrasing, no pauses, introductions or conclusions, any polyphony usually an accompanying instrument moving in parallel with the voice. It’s clear he set Villon’s words line by line to melody, determined by the intonation of a speaking voice. Pound himself suggested that the opera was instigated by the impossibility of satisfactorily translating Villon into English.
One critic has sniffed that the opera is “less a foray into modernism and more a half-baked retreat into pre-operatic archaism” and so misses the point. It’s of a piece with much of Pound’s poetry to that time, of reclaiming and revitalising old cultural forms, “making it new”. “Early music” as it is appreciated now was barely known in 1920s and Pound had advocated for it before (going as far as to buy a clavichord from Arnold Dolmetsch in 1915, despite not knowing how to play it) and after (microfilming unpublished Vivaldi manuscripts in the 1930s).
Those strange, meandering vocal lines of irregular length are now familiar to audiences through the resemblance to plainchant, albeit with a minimal accompaniment (often just solo violin) and a strange, not-quite-modal intonation. The baritone Robert Gildon and mezzo Lore Lixenberg sang without the vibrato that would have been hard to expunge in Pound’s lifetime. The piece begins with an overture on solo cornet de dessus (think a valveless trumpet the size of an alphorn), the interludes are brief, spare taps on a kettle drum. When Virgil Thomson heard it he presciently noted that “it bore family resemblances unmistakable to the Socrate of Satie” – another overlooked masterwork by a composer yet to be appreciated. The pared-down simplicity of the opera recalls John Cage’s reduction of Socrate, but his Cheap Imitation was written over 40 years later. The haunting motet at the end of the opera carries the same blurring of familiar and strange, in the same manner of Cage’s arrangements of 18th Century American hymns – achieved, again, by erasing. Cage’s last operas also reduce the elements of opera to the barest essentials. I haven’t read anything that suggests Cage was knowledgeable about Pound as a composer.
The LCMF programme specifically links the Pound and the Stockhausen Pietà as “two neglected masterpieces of modernism”. When Stockhausen died I connected him to Pound in terms of how much their work remains misunderstood and will probably stay that way. The LCMF concert felt like a first step for treating Pound’s music as more than a curiosity.