There are a few simple parallels in the deaths of John Cage and Karlheinz Stockhausen. Both died unexpectedly soon before their 80th birthdays, each leaving a legacy of posthumous premieres for a series of readymade memorials. Both also left behind a substantial number of critics who doubted that neither their reputations nor much of their music would survive for long without the personalities of their creators to sustain interest.
The proliferation of recordings and performances of Cage’s music since his death seems to have put his myth to rest. It remains to be seen whether Stockhausen can also elude the same, undeserved fate. The celebrations-cum-commemorations may or may not have helped to preserve and regenerate Cage’s reputation, but they will surely play a role in reviving Stockhausen’s.
Stockhausen is still usually regarded as The Leader Of The European Avant-Garde Who Lost It Some Time In The Seventies. As one preview of the Klang series of concerts at Southbank puts it: “The point of these festivals is to see what can be rescued from the absurdity in his later work.” Only two sections of his monumental Licht cycle of operas are being performed, but most of the music in the series comes from the last years of Stockhausen’s life.
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KLANG
Wednesday 5 November 2008
I’ve spent the past week dealing with flu, apathy, and the Karlheinz Stockhausen festival at Southbank. Normal service should resume tomorrow, with a violent disagreement between my girlfriend and most of the audience at the weekend performances of Trans.
It’s nice to know a piece of music nearly 40 years old can stir up as much debate now as it did at its premiere. We both went to the performance last year by a student orchestra (Trinity College?), which was a fine example of the low-road approach to presenting Stockhausen’s music. The weekend’s high-road approach brought up some interesting contrasts in how we react to ostensibly the same music.
Conceived as an 80th birthday celebration, now an unexpected memorial, the festival focuses on his last, unfinished cycle of works, Klang. Having witnessed a few more pieces from the cycle now (after hearing two at the Proms in August), what I wrote last year seems more appropriate than ever, to Stockhausen’s later work as a whole.
Audience and orchestra, equally lost in the purple fog, partook of the event in a state not unlike the suspension of disbelief required to embrace the enactment of a myth. Its alien weirdness and denial of rational meaning suspended judgement, the music and its theatre an unquestionable, unalterable fact to be experienced. We all deferred to the indomitable arrogance of Stockhausen, an arrogance that was necessary to trust that he could put across a work he could not understand, without a safety net of explanation or justification.
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New photos, new music
Thursday 30 October 2008
I’ve got the pictures back from the Hobart incarnation of the Redrawing show, and uploaded a new mp3.
In addition to the main elements of String Quartet No.2 (Canon in Beta) installed in Melbourne, the Hobart version included an extra video, showing my live performance of the piece at the Melbourne exhibition.
I’ve also uploaded a spiffy new recording of the String Quartet, a 23-minute mp3 which gives a good idea of how the thing sounds in its present state.
The main projection and automated version of the audio still played live in the gallery, while punters could also listen to the recorded, human performance over headphones. Two similar but different performances of the music could be heard at once, thus adding a further layer of duplication and imitation to the work.
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Stockhausen for Really Everybody!
Monday 27 October 2008
First, a special thankyou to Blogger for breaking everybody’s browser icons.
Second, an extra special thankyou to Jodru at ANABlog. Remember a few weeks ago when I linked to a recording of this year’s Stockhausen Proms concerts? ANABlog now has the whole thing conveniently broken up into individual tracks, in smaller, more user-friendly mp3 form.
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Excellent Company
Sunday 26 October 2008
I haven’t plugged Kyle Gann’s internet radio station, PostClassic Radio, yet. I really should because it’s an excellent stream of new music with a newly expanded playlist, which just happens to include *ahem* a couple of my own pieces.
Funnily enough, the bots that run the internet radio service can’t quite cope with the type of music being played on this particular station, and offer links to buy CDs by the likes of myself and “Uncle Morty” – the latter a necessary evil to skirt the bots’ inability to tell individual pop songs from subsections of a 3-hour work.
(Don’t bother clicking the “Buy” link for my stuff: it’ll just say “Title Not Found” and try to make you buy an Il Divo album instead.)
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Filler By Proxy LXV: Pianomania! (Get a handle,.nous,Charlie, chanterons sans l’été chaud)
Thursday 23 October 2008
Are you crazy about pianos? If you aren’t crazy about pianos, are you crazy about classic cars? You should meet raymanboy: he sells pianos and the occasional car on eBay, and he certainly seems pretty crazy.
Firstly, his listed prices for items change at random intervals, either up or down, by as much as £10,000. Then there’s his notoriety amongst piano and car afficionados. The listings themselves are typically illustrated with multiple photographs of what is presumably the object for sale rotated at various angles, inexplicably collaged in with pictures of airplanes, drawings of Mata Hari, and blurry photographs taken of a TV showing wedding videos and Gwyneth Paltrow.
The real giveaway, however, are his product descriptions. If you hurry, you can still make an offer for his VIDO. RED ROSENDORFER WHITE BARON RICHTOFEN GRAND PIANO. If you’re not a musician, don’t worry: that description doesn’t make sense to anyone, except maybe raymanboy himself.
Perhaps the detailed description will clarify things:
The offers can be discussed before you place them – there is no reserve – treat the £20,000 as a joke if it bothers you – I do, two failed marriages one near miss and a funeral and if I ever catch up with him I won’t marry him for a third time the funeral was the Steinway the Serenade in G on the guitar – it only explains the giref glue and research that went into it although but for posterity and your future offspring like my cat it won’t bother either one of you..£20,000 The doll was a temptation but you knew the true American would always wait for the end of the pier show or lose the chance.
And it goes on, for another 8,000 words of quotations, word association football and meandering streams of semi-consciousness, all in a variety of fonts that arbitrarily change colour, size, and style. He obviously puts a lot of effort into these things; this particular item has been revised 13 times in six days. Towards the end he sounds like the love-child of Gertrude Stein and Christopher Knowles:
Otherwise strutted like the wings of an aeroplane that all rhymes curiosly previous reaons fly out and away and sound and symphony be one together. Hers or his more is more the confusion. This may grow like the piano into a form of anything born of a love and any construction. The greatest of these I find hard to contain; that which on pne hand you at the time deny or hide and detain by “etiquette” for those around. That it may be by this piano you may have experience. A future I only dream but do not have. The premise as heavenly I knew from just one meeting. And in another place than this piano that was the same to those sounds and attitudes which she displayed upon that. Attitude as it changed in one meeting is like a Flying Circus by force of surprise. That to have been at that greater stage of life wherefore I would wish to be again – as one viewer stated to experience beneath the mountain to stand with her alone. It is now as if I I have recoil I was as if I am still there. And there you to find I know to look upon this piano his and hers be there and their kingdon shine. Most time for the buyers of commodity there are two accounts for one crash. His account the real angel of whom we speak you are told is “The Red Baron” was not but he was bar-ren.
Et cetera. They seem to always end up being about the Red Baron. It’s a mystery that he manages to sell anything, let alone have a high customer rating.
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Finally Getting Grisey
Wednesday 22 October 2008
Last week (yep, up-to-date as ever) I went to the UK premiere by the London Sinfonietta of the late Gérard Grisey’s Les espaces acoustiques, a landmark work of late 20th Century music. The cycle of six compositions was begun in 1974 and completed in 1985.
What is it with the British coming so late, so often, to presenting major works by prominent composers across the Channel? Perhaps, in Grisey’s case, his reputation as the founder of the “spectralist” school of music did him more harm than good in British concert halls. The British are innately leery of the French habit of dressing up their creative inspirations as universal theories.
Perhaps that reluctance isn’t such a bad thing, much of the time. I’d heard a couple of Grisey’s pieces before but until now I’d never “got” him, having been distracted on previous occasions by trying (and failing) to hear his vaunted theoretical ideas at the expense of his music. Or else I was showing my British roots.
I became a believer after hearing Les espaces acoustiques, a rich, sensual, gorgeous work, superbly played by the London Sinfonietta, aided by orchestral ring-ins for the last sections, which require an orchestra of over 80 musicians. As well as working purely as music at face value, Grisey’s conception of music as a synthesis of harmonies and instrumental timbres was made very clear in Les espaces‘ explorations of sound. Conductor George Benjamin (a composer in his own right) allowed the sonic richness to saturate the performance without ever letting the music wallow in a shapeless, plodding indulgence.
Grisey’s music can be alternately subtle and dramatic, sometimes almost excessively so. He is praised for inventing a new language of sound, free from the stultifying elements of musical modernism, but in his limitations he is equally beholden to them. It is telling that the violist and composer Julian Anderson, who played the opening section of the cycle, says “It really was quite significant” that Grisey included a distinctive, hummable melody in a composition written in 1976. Outside the institutions of the European avant-garde and romantic traditions, discoveries (and rediscoveries) similar to Grisey’s had been going on for years, and pursued more radically and thoroughly than in Grisey’s music.
In America, composers as diverse as La Monte Young and James Tenney had spent the 1960s exploring tonality, the harmonic spectrum, new sounds, forms and structures. Europeans largely thought of them as amateurs, pranksters. Grisey, on the other hand, was the professional: he knew that a composer needed a computer laboratory, a symphony orchestra, and a tendency to disrupt his new sound world with conventional dramatic gestures to be taken seriously.
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Stockhausen for Everybody!
Thursday 2 October 2008
The Stockhausen Proms I enthused over in August can now be yours – both concerts in their entirety (from the BBC radio broadcast) are online thanks to inconstant sol (via The Rambler).
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Why I’m not a musician
Tuesday 30 September 2008
Having mentioned Paris Transatlantic the other day, I started looking through some older editions and found an interview with Phill Niblock. Niblock was the inspiration for my piece now showing at the Redrawing exhibition in Hobart (plug!).
Something Niblock said reminded me why I’ve never sought music-related employment as a day job to fund my musical activities: I worry about what might happen to me if I’m placed in regular contact with musicians. Here’s Niblock discussing the role of the performer in playing his music (remember that his music sounds kind of something like this):
There were two especially bad performances in my memory. One was in The Hague, actually. We were doing a concert and one guitar player had come to the rehearsal; and the other guy couldn’t come for a rehearsal at all – he’d never heard the piece nor had the CD or anything. So he came and got up on the stage and immediately started improvising over the drone. And the other guy was playing perfectly. I almost got up and said to him: please lay out. But I didn’t. And a similar thing happened very recently in the States. I had even sent the CDs to this woman who I knew, and who knew the music, and the same thing happened; I came very late, there was no chance to make a rehearsal or a soundcheck, and she just used it as an opportunity to make a really long improvisation for herself with a drone background. I was sort of shocked. I didn’t say anything to her because we were actually staying with her, so that made it difficult.
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Rueful Autopsy
Sunday 28 September 2008
“He reserves his respect mostly for the dead.” Why am I interested in so few composers under the age of 50? Is it simply because I’m getting old and stopped taking an interest in anything new? Or is it that I was never that interested in what’s comtemporary, and my interest is in a particular historical period, of which I happened to catch the tail end?
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This is starting to get depressing.
Friday 26 September 2008
It’s one thing when you realise that most of the generation of great composers born in the 1920s have now died – Xenakis, Ligeti, Berio, Stockhausen, Kagel, etc – but now The Rambler is reporting that Horaţiu Rădulescu (b. 1942) has died. No other reports yet, and Wikipedia is dithering on whether or not to put it on their ‘live’ page.
ANABlog has recently been posting a bunch of mp3s, with notes, of Rădulescu’s music – simultaneously sensual and austere, using a rich and distinctive palette of microtones, embracing the complete “acoustic spectrum”. If the ANABlog links are down, there are more compositions easily found on the Avant Garde Project site (large FLAC files and sleeve notes here, mp3 versions backed up here).
Also, Paris Transatlantic interviewed Rădulescu last year. It begins promisingly:
He can’t stand Shostakovitch (“de la merde!”), dismisses Schnittke (“tuttifrutti!”), cordially dislikes Boulez (but admits that “he opened up a new sound world for all of us and his management skills come out well in front of the orchestra”), listens to Algerian rai, and Nashville blues while he accelerates in the BMW, and unwinds to Monteverdi and Josquin des Prez when he de-accellerates at home.His own music is unclassifiable. Though frequently called spectral, it has diverged totally from the French academic spectralism which is so hot in institutional circles in Paris these days. Colleagues of his who have become well-known such as Dusapin (the tritones of whose cello concerto “set my teeth on edge”) annoy him through their business skills, and he refers to the music spectrale crowd in Paris with scorn (“they’re the mafiosi”). He reserves his respect mostly for the dead: Wagner, Bruckner (“not Mahler, his music is empty!”), Josquin des Pres, and Xenakis, whom he venerates, adores.
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Mauricio Kagel
Sunday 21 September 2008
I performed Kagel’s General Bass (for “unspecified bass instrument”—I used an accordion), a little piece of typical, mysterious wit consisting of sparse, disconnected phrases that hint at some absent, traditionally tonal grandeur. Kagel a) was mildly disappointed at the fact that my piano accordion was not a bandoneon, but took it in stride, and b) was very particular about staging—seated, not standing; very still, as if one player within a giant ensemble; and making sure to underemphasize any espressivo possibility in the fragments. It was a bit of master-class in how to play off of performance expectations, and in how magically you can up the stakes of humor the less you give away the joke.Kagel could be intellectually unforgiving, but even his criticism was cloaked in the graceful good manners of an old-school radical; if he thought I was young and stupid (which he probably did) he never let on, instead giving the generous illusion that the time he spent with me was time well spent.
Mauricio Kagel RIP. A composer I’m still learning how to listen to; although this might be because I keep confusing him with György Kurtág.
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The Good Old New Musical Resources
Sunday 7 September 2008
He provided a new and visionary basis for musical exploration based in the unalterable facts of acoustics, a basis so broad that it opened up room in the Western tradition not only for musics of the rest of the world, but for compositional systems that have not even been conceived yet. If Cowell failed to fulfill his own potentials, it was because those potentials were too ambitious to be realized except by a succession of future generations. As a prophet he pointed the way to a new world he was not destined to live in….
For nearly 70 years Henry Cowell’s book New Musical Resources has inspired composers to explore new territory in the worlds of harmony and rhythm, and to discover connections between the two. Barely a week after uploading a PDF of Notations, UbuWeb has made a scan of Cowell’s complete book available as a 56 MB PDF download.
For a practical demonstration of Cowell’s musical thinking, American Mavericks is still hosting the Virtual Rhythmicon, which lets you play with the instrument yourself, or hear other people’s compositions. The original rhythmicon was built by Leon Theremin in 1931, following Cowell’s instructions. The electronic instrument was configured to play notes in the same harmonic and rhythmic ratios as the frequencies of the harmonic series.
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Notations
Tuesday 26 August 2008
John Cage and Alison Knowles, eds. Notations (Something Else Press, 1969).
Three used copies available on Amazon. From $298.00.
Now available as a 75-megabyte PDF, downloadable from UbuWeb.
Rejoice! Rejoice!
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2000 Guitar Solos
Monday 25 August 2008
I love and hate the guitar. It’s the only instrument I more-or-less know how to play, and I’ve always wanted to write music for it. However, years of playing it left me jaded with its possibilities and feeling constrained by the limitations of my technique.
Attempts to apply other compositional techniques I’ve used on the instrument produced results I found too dull to pursue. Trying out my extended free improvisation chops seemed futile, given the plethora of far more talented and imaginative guitarists out there. For a while I gave up on the instrument, but found that the need to compose for guitar wouldn’t go away.
2000 Guitar Solos is an extensive series of compositions in progress, that aims to map comprehensively one section of the guitar fretboard: a kind of ‘Return To Zero’ before approaching the instrument once again with any creative intention. In writing these pieces I am learning to embrace the guitar’s inherent qualities while at the same time crushing its accumulated rhetoric and mystique.
The pieces’ conscious antecedents are the exhaustive permutational compositions of Tom Johnson, Tom Phillips‘ paintings of paint companies’ colour catalogues, and John Cage‘s act of making a detailed drawing of a tape recorder he was about to work with for the first time.
The series acquired the name 2000 Guitar Solos because it was begun in that portentous year, 2000, but as the compositional process became more systematised I decided to aim for a total of 2,000 pieces. In fact, I have now sketched 2,556 solos, and from time to time return to the series to write out another batch of neat, final versions.
The beginning of the series, some 120 solos, was exhibited at TCB Art Inc. in Melbourne in 2003. Their simple, linear, obsessive nature makes them as suitable for display as ‘visual music’ as they are unprepossessing for public performance.
In addition to the multiple sheets of music, two other elements made the exhibition. On the wall facing the solos was a large poster printed with The Obsolete Guitar manifesto. Also in the exhibition space was a chair and a guitar, ready for use.
To help promote the show I made up hundreds of small, photocopied flyers, which took advantage of some other joker called Ben Harper who happened to be touring through town at about the same time.
Whenever 2000 Guitar Solos, or any part from it, is exhibited there should always be a guitar and a chair present with the sheet music to reassure punters that these pieces can, nay, should be played.
Whenever possible, I would come into the gallery for an hour or so, pull the chair up to a random section of wall and start to play, as an adjunct to and extension of the visual display. These appearences were never announced in advance, so that it was a matter of chance whether or not visiting punters could hear as well as see the work.
Like I said, the music is unprepossessing, and these somewhat furtive performances reflected the internalised nature of the musical results.
