I’ve been listening to these two CDs from Another Timbre as a sort of diptych. Each one is a single work for ensemble, 45 to 55 minutes. Despairs Had Governed Me Too Long is credited to the group Skogen, “composition by Magnus Granberg”. Would Fall from the Sky, Would Wither and Die is credited to Magnus Granberg, “played by Skuggorna och ljuset”. Four musicians are common to both groups. I’ve heard one other Skogen disc, the rather fine Rows with Anders Dahl. Rows has an alluring sense of off-kilter formality to it, like Christian Wolff’s Exercises. These two Granberg-related discs seem to share a similar, basic principle of “composed improvisation”, but by very different means.
Both Despairs and Would Fall share other similarities. Both inhabit a sound-world somewhere between the brooding quiescence of late Morton Feldman and the uneasy stasis of AMM. Both works are built upon the skeletal remnants of song. Despairs is a sort of meditation upon the ruins of a song by the seventeenth century English composer John Dowland. Harmonic and rhythmic material from the original are deployed into an entirely new work, whose origins would be otherwise undetectable. Would Fall excavates the 1930s pop song “If I Should Lose You”. Harmonic resemblance is further denatured by the presence of a prepared piano throughout Would Fall, live electronics throughout Despairs.
Both pieces open up spaces for introspection. Small melodic fragments emerge from time to time, suggesting their songlike origins without ever recalling them; textures wind down into repeating gestures before finally breaking up and resolving into more complex debris. A melancholy sense of entropy, held barely in check, prevails in both works, allowing room for both fatalism and hope. Of the two, Despairs feels a little brighter, at least at first, thanks to the source material. The electronics and larger ensemble of ten musicians create a subtle but richly textured tapestry of sound. Would Fall is sparser, an acoustic quintet reducing the material to its essentials. The heavier sense of psychological melodrama that informs 20th century pop makes its presence felt.
I’m over-analysing. I play each disc to set a mood in the house, and each time I find myself riding a different emotional narrative through the details.
“It sounds like the music of the future,” he said as he put the CD on. He was right. It was the Organ of Corti release of a Swedish high school orchestra and choir performing Terry Riley’s Olson III in 1967. They sing and play with an amateur ferocity – this may be partly due to the audience, where a riot has broken out. The musicians win, with their implacable chanting. The rhythm and intonation are all slightly out, giving everything an otherworldly quality that suggests a mashup of the soundtracks to 2001 and Chariots of the Gods. Like any glimpse of the future, it was awe-inspiring and a little frightening.
Riley is synonymous with In C, a piece which still holds the new music world in its thrall despite being half a century old. Olson III is a similar work – a common pool of short, repeating patterns through which each musician progresses at their own pace – with the addition of a choir singing a text, but the voices are not the critical difference. In C has patterns with varying lengths and rhythms, and typically needs someone playing a pulse to keep time. In Olson III the orchestra and chorus is the pulse: all the patterns have the same length and unvarying rhythm.
That Cortical CD came out 15 years ago. I’ve never heard anything by Riley that’s like it, nor anything which is such an overwhelming, almost exhausting experience. I’d often wondered how much of this was due to the composition, and how much to the recording – the schoolkids, the restless audience, the fraught circumstances, the struggle to keep time, the ageing, long-lost tape.
Last night’s Kammer Klang at Cafe Oto ended with the Klang players and Exaudi playing Olson III. It’s not just the tape. Heard fresh, clear and direct, the music combines Riley’s typically bright and lucid harmonies with an atypical, almost forbiddingly rigid and unornamented rhythmic pulse. This impersonal aspect is then subsumed by the trancelike effect that builds in the listener over time. A type of ecstatic experience.
This really was the music of the future. From one moment to the next it evoked the interlocking figures of Steve Reich’s ensemble music from the 1970s (10 years later), the gleaming lock-grooves of those hip, rock-influenced composers of the 1980s (20 years later), trance and rave culture (30 years later), new generations of Europeans and academics “rediscovering” principles of digital reproduction and incorporating it into the concert hall (so last year).
Olson III is one of Riley’s more obscure compositions. Fifty years ago there was one solid idea, an idea so strong that nobody can even agree on whether it’s time to let it go.
Same old problem: I keep making music without thinking about what to do with it after I’ve heard it. Some of it goes on Soundcloud, some of it gets uploaded to this site and when I’m procrastinating I make videos and put them on YouTube.
From a while I had a few stacks of CDs lying around but they’re almost gone now, hopefully for good. Occasionally someone asks me about getting hold of something old; there were small editions of CD-Rs but it seems like an excess of effort to burn off some more discs and print the covers.
I spent the winter break digging up some dusty old pieces and polishing them up to a standard I could live with. Now that they’re done, I’m taking the low road of vanity publishing and putting them up for sale on Bandcamp. It’s kind of like what people these days call “closure”.
Pricing, web design, promotion are all works in progress because I don’t know what I’m doing here. For now, you can get hold of mp3s or high quality lossless audio of tracks or albums with printable cover art. At the moment the albums are old releases I’m still happy with, but if things go well I might put up some new things I’ve been working on.
If only for having the advantage of hindsight, it may be easier to rediscover the past than to discover the present. I got sent some new CDs from Another Timbre, the label that’s been putting out essential recordings of music by Laurence Crane, James Saunders, Bryn Harrison, Catherine Lamb, etc etc. One of these discs is a collection of pieces by Frank Denyer.
I’d been aware of Denyer mostly as a musician, and from his work with The Barton Workshop. It was only on hearing a broadcast of his piece The Colours of Jellyfish for soprano, children’s chorus and orchestra that I realised he was a composer with a unique voice. The pieces on this new disc, Whispers, are a few years older than that orchestral piece, and recorded mostly in 2009: a neat example of rediscovering the present.
This album can be shocking in places. Even more spare and seemingly artless than I expected, the music takes familiar techniques but approaches them from a new angle, creating a paradoxical mood that quietly works on the listener. There’s a tense feeling of expectation, or apprehension; not from the music itself, but from my wariness of what it might all turn out to mean.
The opening piece, Whispers, is about precisely that: Denyer himself whispering, humming, muttering, a halting procession of small vocal sounds. Like a man half-singing, absent-mindedly to himself. Listening in seems almost intrusive, but there are other things going on: small tappings and rustlings from various noisemakers, and at times a viola plays almost inaudibly in the distance. (The entire album is recorded very quietly, suggesting that without careful listening much of it may be lost.) The sounds vacillate between unconscious and self-conscious, the act of producing them at the same level of intensity and restraint over 20 minutes denies any accusation of self-indulgence or even self-expression. The meaning remains as unknowable, or knowable, as any unconscious sound.
The entire album flows seamlessly from one piece to the next. Woman with Jinashi Shakuhachi is, like Whispers, precisely what the title describes. The mouth sounds change to the musician Kiku Day’s voice, alternating with raw shakuhachi sounds until the two lose distinction, and again the tapping sounds. It’s tempting to think of the music as some sort of ritual, but again the ordering of sounds is too organic, too intimate. Again the sounds seem almost unconscious, as though they were the by-product of some other activity that remains unknown.
As an interlude, The Barton Workshop’s performance of Riverine Delusions may be the most conventional piece here – it’s evocative, but the image it paints is almost transparent, with faint gestures suggesting big movements, the indelible remnants of an image faded almost to invisibility. The keening flute stands out in relief, a preparation for the next work. Again, the title Two Voices with Axe explains everything but reveals nothing. A male and female voice blend in a tissue of sounds with muted instruments. The jarring intrusion of the axe comes almost as a release, breaking the tension of expectation that something loud might finally happen. Despite the most private and personal circumstances of the music-making here, the music that emerges from it is like a wild force of nature – it always seems peaceful and benign on the surface, but all along I’ve been conscious that it could turn on me without warning.
The axe-blows sound rich and varied, with no suggestion that they were contrived for aesthetic effect. The late Bob Gilmore, who produced the album, is the axeman.
In the final piece, A Woman Singing, Juliet Fraser’s voice mirrors the opening of the album. Again barely audible when played under normal conditions, the voice is suspended in a stream of unconsciousness, the emotional range suppressed to a nearly internalised expression. By being so withdrawn, the singer’s exposure feels all the more stark, through the lack of mediation, the temptation to listen in closer, like an eavesdropper.
These works are not improvised but fully, meticulously composed. There is a fine, complex understanding of the subtleties of music at work here, of the material of sound, the acting of performing and the relationship of musician to listener. At first the sound world seems close to the very refined sensibility of Martin Iddon’s excellent pneuma, which Another Timbre released last year. Denyer’s approach and musical concerns are different, of course, and so is his music: this is made evident, however, not through any ideological or programmatic pronouncement, but through the very stuff of the music itself, that entices and gnaws at the listener. The reactions this music may provoke are complex and variable, and I would not like to try to define them now.
I haven’t posted anything for a while, and just when I thought spring had come the cold and wet weather returned over the weekend. In keeping with the mood, here’s a little piece of music I made the other night and a few of the old photos I’ve been looking through this evening.
I was always annoyed by the insincerity of the art world; I mean the way it pays lip service to stuff it says is important and then ingnores. That’s what makes projects like the ensemble Apartment House’s new CD of music by George Maciunas so important.
Every art history and not enough music histories discuss Fluxus, but the work itself has been neglected, disappeared from the cultural exchange. This silence prevents the art from considered as an artistic experience. A complacent assumption sinks in that these works are of interest only as an historical footnote, unworthy of further examination.
Sadly, I missed a repeat performance of the Scratch Orchestra’s Nature Study Notes last weekend. The performance last summer was excellent. There’s another example of music being rediscovered after a generation in the wilderness. Last Tuesday I was at a concert given by the new music ensemble at City Univeristy, where they performed Paragraph 7 of Cornelius Cardew’s The Great Learning and an octophonic version of Takehisa Kosugi’s Micro 1. Both wonderful pieces, both set aside as artefacts of their time. So much of what has happened since the Sixties seems less like moving on and more of a retreat.
Having been born a little too late, I grew up with the second-hand impression that so much had changed from the pre-1975 cultural scene not because it was old hat but because people couldn’t handle it. It’s been a long time waiting but these childhood impressions have increasingly been proven correct.
Here is the fairly standard photograph of people performing George Maciunas’ In Memoriam to Adriano Olivetti. This is usually as far as anyone gets with Fluxus performance, a photo half as old as the grainy snapshots of the Cabaret Voltaire. What is this piece? Each performer devises a list of actions and assigns each action a number. They then must perform each action in a sequence determined by the numbers found on a discarded roll of paper from an adding machine. The means is historical; the method is still contemporary.
On the Musical Scoring Systems CD, Apartment House play In Memoriam to Adriano Olivetti: the first by an ensemble making diverse sounds, the second by a string quartet. John Cage is always cited as a large influence on Fluxus, but Maciunas’ piece anticipates Cage’s last compositions by 30 years, pieces like Four 6 where performers are free to choose sounds but not when to make them. Other works by Maciunas such as Music for Everyman use similar methods, of sounds placed into subdivided grids of time, Musical Scoring Systems.
The pieces in this album are all from the early 1960s, at a time when Cage was starting to explore the limits of chance and indeterminacy. It took Cage a couple more decades to achieve such a level of directness in his composition as shown on this CD. In the right hands Maciunas’ music is as open in its sound-world and transparent in its organisation as Cage’s.
There’s an important distinction here, summarised by Cage’s friendly advice: “Permission granted, but not to do what you want.” Cage wanted his interpreters to exercise self-discipline and longed for self-imposed order. Maciunas, for all the irreverence brought into his musical scores (balloons, mouthfarts), is also bringing discipline and order into play. All those everyday actions, for all their apparent spontaneity in music or in life, are constrained into a strict, predetermined sequence of events. In Maciunas’s music the composer’s relationship with the performer, allowing the players to choose the order to be imposed upon themselves, is made more evident and gives away the lie behind the ideals Cage was extolling at the time.
Solo for Rich Man is performed here, one of Satie’s oblique parables translated into actions. The paradoxes of the connections between money (or lack of it) and freedom (or lack of it) pile up in this simple score. Like all scores, its effect as an object itself is limited; it must be enacted.
The Apartment House CD comes with no pictures of scores or descriptions of individual works, but it does come with an essay on Maciunas’ musical thinking. To be taken as seriously as any other music it is to be heard on its own merits. Solo for Rich Man is five minutes of ringing coins and crumpled paper in a montage of methodical transactions that are meaningless. Other than the Cagean connections, fifty years of exposure to New Music has allowed listeners to catch up with Fluxus. Deprived of theatrical spectacle, Solo for Violin (for Sylvano Bussotti) changes from a Dadaist stunt to a darkly comic caricature of a sonata by Helmut Lachenmann. The poor instrument’s protestations cannot help but recall the textures of the preceding Solo for Balloons (for Jean Pierre Wilhelm) – another palette of sounds which has since been fully claimed by avant-garde percussionists.
I’m told this project was a labour of love. I’m extremely grateful for the Lithuanian Music Information and Publishing Centre, Apartment House and Anton Lukoszevieze for making it happen. (I’m also grateful to the last for sending me a copy.)
Thanks a lot to Tom Mudd and everyone else who made Sounding The Great Hall last weekend such a great time. Apart from hearing everyone else’s stuff, it was great fun playing around with eight loudspeakers in such a loud, cavernous room. As it happened, James Wilkie got a photo of me contemplating where to pan the sound next.
It was interesting/disturbing to hear how much the music changed in the space – you really don’t notice how much reverberation is in a room until you realise it’s swallowing up all the detail in your piece. It was a pity I didn’t have the right technical equipment with me to do a real separation of different signals to manipulate directly to each of the eight channels, but it’s got me thinking about a next time.
For the people who contacted me saying they couldn’t make it, I’ve uploaded a recording of my set. It was a performance of the piece Chain Of Ponds, which I’ve discussed before. All sounds were generated in real time by digital feedback synthesis, controlled by chance-determined scripts running on the computer.
The recording is a direct line feed from the computer itself, with just a little bit of the room ambience mixed in. The link below should stream or download – your choice.
As a bonus, I’ve uploaded another recording made at home tonight. This is the same setup as used at Goldsmiths, but with different bias weightings plugged into the controller script. It shows how the piece can be recognisably similar while still producing very different sounds and overall mood.
I promised to post a sample of what to expect at next Saturday’s gig in the Great Hall at Goldsmiths College, so here it is.
Chain Of Ponds is a composed system of interconnected digital feedback circuits. All the sounds are generated in the software programme AudioMulch, configured into a complex network of components. None of the components generate an audio signal or play samples; the sounds are produced by the interaction between the components.
I’ve written a script in Cakewalk Application Language which generates a chance-determined MIDI file to control the AudioMulch file. Over 800 parameters are individually controlled and adjusted by this MIDI file. The weightings of the chance operation in the script can be manipulated by the user, to influence the probabilities affecting attributes such as density of events, types of activity, the range of possible changes, lengths of periods of stability/instability, subdivisions within the work and to “silence” or “freeze” certain parameters, each assignable to different groups of controls.
In the Great Hall I’ll be diffusing the sounds generated in real time, controlling the sounds sent to each of the eight speakers located around the room.
Things start at noon on Saturday; I’ll be on at 1.30 pm.
All the performers will be playing around with the acoustics of the Great Hall through an unusual 8-channel speaker arrangement. The whole event is an informal, exploratory occasion, with composers and musicians trying out different ideas or playing full pieces. People are welcome to come and go and wander around the space as they please. The schedule is pretty much continuous throughout the day.
I think I’ll be working on this new piece for multiple interconnected feedback loops, which I was polishing over the new year break. I’ll post some teaser samples of what I’ve got in mind later in the week.
I think this is might be the earliest piece I wrote which I still have lying around, but I’d never heard a satisfactory realisation of it. I’d been reading about mathematicians constructing visualisations of the decimal places of π, to better its apparent randomness. This made me think of a musical interpretation, to find out if long strings of decimal places would deviate from the mean over time or else show true randomness with no significant long-term deviation.
The final piece, of course, does no such thing.
Each instrument in the quartet obtains its material from a different string of decimal places of π. Each digit is compared to the mean of the preceding digits, with the difference expressed as a (microtonal) pitch change. Instruments exchange digit strings to obtain note durations, from 0 (grace note) to 9 beats. About halfway into the piece, rests replace notes for the most extreme deviations from the mean, and the range allowed for pitch changes reduces until by the end all deviations from the mean are expressed as silence.
The piece was conceived as a string quartet, using a scale of 36 tones to the octave; both to keep within the 2-octave range common to all four instruments and to avoid excessive ‘leaping’ from one pitch to the next. It was not expected that performers would perform the microtones accurately, but would drift away from a sense of shared tuning as they went along. Despite this, the piece would still be very difficult to play and I’ve never wanted to pester any musicians into attempting it.
I’d made a couple of MIDI realisations of the piece before, using various intonations and instrument patches to retain some of the string instruments’ properties of attack and sustain, but none of them were acceptable substitutes. Over the new year break I dug up the old MIDI files for one last shot and completely remade the piece. The tuning now has the inaccuracy lacking from the previous versions and the samples used give a rough approximation of the instruments’ sound. I figure this will be as good as it gets, so I’m offloading it to Soundcloud for at least a little while.
So far this year, I have been busy on making a half-acceptable realisation of a very old piece. I suspect it’s unplayable by live musicians and my previous attempts at synthesised versions were dreadful. It seems more acceptable to revisit an old piece as long as I am working on learning new ways of achieving what I wanted at the time, if not now. I think this year I will be resuming some old, unfinished pieces and pursuing ideas never realised.
This piece will probably get uploaded somewhere when it’s finished, soon. Right now I need to make a collage of background studio noise.
“Composers are over, they’re last century.” This was the gist of one of the conversations I had over Christmas lunch; at least that’s how I remember it, being drunk at the time and much, much drunker soon after. I could see the point but wanted to demur in some way. The universities still seem to turn out fresh undead, as can be heard every year in premieres at the Proms, and even in Strasbourg, Donaueschingen and Huddersfield.
The conception of what it means to be someone who makes music has supposedly been changing for decades but it’s only now become possible to perceive a clear difference in the understanding of post-WWII music as it was at the end of the Nineties and now. The older consensus on where the mainstream lay had gone, but people still felt its after-effects and took a while to fully realise that it’s not coming back.
The best example I can think of this schism is the London Sinfonietta’s recent performance of Fausto Romitelli’s An Index Of Metals. The rhetoric of cyberpunk and rock’n’roll was dated at the time and wrong-headed from the start; Romitelli’s image of the composer as a visionary pioneer was a romantic throwback. It’s a tragedy he didn’t live to outgrow this phase to settle into being a neo-romantic old fart like Boulez, if not Glass.
(I must point out that Romitelli’s music is often much better than the claims made for it: explorensemble’s performance of the complete Professor Bad Trip trilogy last month was superb.)
Much of my musical year seemed to revolve around the Another Timbre record label, the ensemble Apartment House and the Wandelweiser school/movement/philosophy? – three corners of a triangle. I’m surprised at the way minimalism has stayed such a pervasive influence on so much music today. I thought by the mid-1990s it had been exhausted by ‘bands’ playing stuff that Probably Sounded OK In MIDI and ECM recording anyone who owned a cloak. Instead, much new music made these days, which could be easily lumped in together as “minimalist”, is returning to the experimental roots from which minimalism emerged.
Some of the best new-ish CDs I heard this year (Wandelweiser’s West Coast Soundings, Apartment House’s Laurence Crane collection, music by Bryn Harrison and Martin Iddon) could be thought of as having a broadly common sound-world, but they all shared an interest in picking up and pursuing lines of thought largely dormant since the 1970s. As a useful reference, three other events this year provided a comparison: The Scratch Orchestra’s Nature Study Notes, a concert/talk from Christian Wolff, and the opening concert at the LCMF which reunited leading figures from the British avant-garde from 40 years ago.
Parallels between the Scratch Orchestra performance and compositions by James Saunders seemed very clear. Another excellent record I heard only recently – Rows, a collaboration by Anders Dahl & Skogen – displayed similar methods to those used by Christian Wolff in his Exercises and other pieces. Between the generations there’s a shared interest in processes and the nature of sound, at the expense of “self-expression”.
I’m OK with the idea of the effacement of the composer if it means that the music continues to live. The alternative is a ghastly scenario presented by Who Killed Classical Music?, which offered a way for composers to still be considered ‘relevant’ in society, as long as their music could never be taken seriously.
As Christmas lunch carried on past midnight, another topic came up. One of the best gigs of the year, Thomas Buckner’s recital of works by Robert Ashley, was so poorly attended. “Now that Ashley’s dead,” my host said, “people are relieved that they don’t feel obliged to pay attention to what he had to say.”
Behind all this, one mystery lingers. What happened at that
La Monte Young piano gig in January? Did it happen? Did anyone witness it?
I’m working on a new piece of music, made from live digital electronic synthesis. The concept is quite simple.
Lots of software patches, connected together into interconnecting circuits. None of the patches are designed to make sound, only to process it; but when you connect them into circuits they produce audible feedback. When you feed the circuits into each other they modify each other’s feedback. This can have a cascading effect, with unexpected consequences.
I work on it: the piece starts to behave in the way I expected it to. It’s a bit rough around the edges, so I work on it some more: it sounds terrible. Next day I tweak a couple of points: suddenly it’s magnificent. All it needs is a little polishing: when it’s done the piece is unlistenable.
At each stage, it feels as though to make progress it is necessary to in fact step backwards and undo the most recent work. Listening back to previous stages, it is apparent that this is not the case. This creative process reveals itself more as a continual retracing of steps, rediscovering what was there all along. With sufficient patience, you could in theory approach asymptotically an idealised conception of the work.
In the meantime, here are two short test recordings. Each is the same, only the chance-determined weightings for each patch’s controls are different.
I didn’t write about the last time Robert Ashley was in town. Sometimes you have an experience that gives you too much to think about, to write it down coherently and do it justice; not at first, and then you leave it later and later until it seems too late. For much the same reason, I didn’t write about when he died in March this year, either. So many of us have been slow in catching up to the implications of Ashley’s work.
Last night, long-time collaborator Thomas Buckner sang a programme dedicated to Robert Ashley’s music at Cafe Oto, to an audience of as many as twenty people. Much of it was in Ashley’s signature style of speech heightened to the state of music (not to be confused with sprechstimme), but Buckner’s virtuosic shaping of phrase and intonation and even melody from Ashley’s text revealed an aspect I had not fully realised before. The virtuosic speech which is Ashley’s most recognisable stylistic trait is more than patter, an overwhelming flow of information; there are pauses, hesitations, repetition which mould the semantic and emotional content of the words and the voice into complex states of thought and feeling as skilfully as any great aria.
For the record, Buckner performed a version of Ashley’s opera Atalanta (Acts of God), consisting of the “Odalisque” aria from Act I, “Mystery of the River” from Act II, and the Anecdote “The Producer Speaks” from Act III. The first act was accompanied by piano, electric piano and synthesized organ, the third act by piano alone. “Mystery of the River” was a new electronic realisation, made only last year as it had never been performed before then. After the interval, Buckner sang Tract, a wordless melody with electronic accompaniment, and World War III Just the Highlights, for voice and chorus. Tract began as a setting of a Wallace Stevens poem for voice and string quartet until Ashley realised he didn’t want to bend other people’s texts to fit music and as for string quartets, well.
The music conveys a stillness of contemplation, containing an agitation of thought. Connections abound. Ashley rhymes his subjects like Ezra Pound in the Cantos. Like William Carlos Williams, he adopts Pound’s methods to articulate the fraught sense of an emerging cultural awareness in his contemporary U.S.A., wondering whether it will survive and grow, and in what form. “Mystery of the River” repurposes mythology into geography and family history, as any colonial community must if they are to find meaning in their environment. World War III Just the Highlights starts by dissecting the economics of an opera company staging the Ring Cycle before crossing the Atlantic to analyse the romanticisation of El Cid and the Italian condottieri: the subject matter, characters, their juxtaposition and the connections between them are all the stuff of the Cantos.
Every performance of Ashley’s music I’ve witnessed has been a revelation, leading always to bigger and better questions about the content of his work. It pains me how few other people were there to hear it for themselves.
Not much to report lately except for two gigs, both at Cafe Oto, about one week apart.
First night: two solo sets, by Rafael Toral and Anthony Pateras. I’d heard some of Toral’s music for guitar and feedback of different types, so this was relevant to my interests. He played three “pieces”, each using different sets of very simple equipment. After the first set I started to vague-out a bit. The first was the most interesting: holding a small powered speaker in one hand, he “played” it with a microphone/light in the other, moving it to and fro to create controlled bursts of feedback. It was reminiscent of a solo improvisation on a violin, in sound and gesture. Unfortunately, it also went on for too long – I think this was because Toral seemed more interested in extracting every possible type of sound out of his instrument than in shaping a musical experience. He later mentioned that he was thinking about jazz saxophone solos while playing, so perhaps this was the problem too.
I’ve known Anthony Pateras for a long time so it was good to hear him play again. He played solo piano, without preparations to the strings or other extraneous sounds (as is often the case with him). The difference in technique between the two musicians was striking, and not just in the obvious way of comparing Toral’s meticulous gestures with Pateras’ frenzied activity. The trademark hyperactive pummelling of the keyboard is nevertheless rigorously constrained, producing sharply defined contrasts in large harmonic blocks of sound as well as more subtle distinctions in texture. His technical agility keeps focussed on one musical idea, which is then expanded and elaborated upon. He also stopped soon enough for the audience to demand an encore.
A few days later I was back at Oto to see Jürg Frey and friends (or “personal army”, as they were described on the night). He’s a clarinettist and composer, another one who’s associated with Wandelweiser. Quiet, pulseless sounds: unlike my previous experience, the usual feeling of hushed stillness had additional depths. Some of Frey’s music that I’ve heard seems, to some extent, a provocation in its refusal to yield to an implied, wider palette of sounds. (This is particularly after hearing R. Andrew Lee play Frey’s piano music.) On this occasion, there were also some surprisingly rich sounds, with an almost playful (on Frey’s terms) exploration of harmonies and instrument combinations.
Performance technique in Frey’s music becomes a matter of mastering a highly disciplined activity, to achieve the extremes of attenuated sounds demanded in the score. Looking back on the three different sets, it became clear that I was hearing differences of technique that applied equally to composition as they did to performance. The opportunity to hear Frey play his own music made this connection much clearer. A more extreme case of performance dictating composition was also presented at the Frey gig. Anton Lukoszevieze’s performance of part of John Lely’s The Harmonics of Real Strings reveals that the harmonic structure of the piece is entirely produced by the systematic execution of a single, extended gesture by the cellist – conceptually simple, but physically difficult.
The same musicians had spent the weekend recording Frey’s music for another release by Another Timbre. It will be interesting to hear the music apart from the theatre of performance.