Quickly now, 2011

Friday 30 December 2011

Off the top of my head, these are my cultural highlights of the year. Well, almost off the top, because the best moments were of getting my own music out in public again. In particular, seeing the Bionic Ear project finally come to fruition with the two concerts in Melbourne was the biggest moment – hearing everyone else’s pieces and seeing the effect their music and mine had on the audiences. There was also the opportunity to play live with analogue electronics for the first time in years, with gigs at Abject Bloc in Limehouse Town Hall and Unconscious Archives at the Apiary that everyone seemed to enjoy.

I’m thinking mostly about music gigs I went to this year, because they are physical experiences of time and place. Of course, this means that the one that stands out the most is SONNTAG aus LICHT – seeing at first hand a part of Stockhausen’s mad, overwhelming vision enter the world and attempt to make itself understood. The other three that made the biggest impressions: Boulez conducting Pli Selon Pli and packing a bigger punch than I ever thought possible, Eliane Radigue’s Naldjorlak trilogy banishing the outside world through the slenderest of means, and Ferneyhough’s La terre est un homme blowing a hole in the received history of recent music – a lost landmark hidden in plain sight.

So where’s the New new stuff on my list? I suppose that should be my new year resolution for 2012.

Other standouts that I didn’t blog about: a superbly performed but unimaginatively conceived version of John Cage’s Song Books by Exaudi at King’s Place, Anna Zaradny’s and John Wall’s sets at Sotto Voce for showing me that there’s still potential for laptop gigs, and hearing Apartment House play my old bĂȘte noir, Phill Niblock’s Five More String Quartets in person. This last piece was the inspiration, years ago, for my String Quartet No. 2 (Canon in Beta), which received a new outing in printed form at Monash University this year.