National pride is all well and good, but British classical music buffs are notoriously partisan. No praise is too fulsome for a doughty wind band from Bournemouth or church organist in Beccles, all of whom are favourably compared to their foreign counterparts and their somewhat suspect techniques. No wonder so many music critics were beside themselves when they discovered the late-blossoming career of the Cambridge-based pianist Joyce Hatto.
Over the past year the British Gramophone magazine has been one of the most ardent champions of the 100-odd CDs recorded in the last 15 years of her life, after illness had forced her to abandon her concert career; alternately praising her and denouncing her critics in its quaint house style.
Hatto takes her place among the greats. Joyce Hatto’s CD legacy may be mired in controversy (“the forgeries of jealousy”?) but there is nothing controversial about recordings which surely place her among an elite of women pianists (only six artists of comparable stature spring to mind).
Doubting Thomases, of which there are apparently many, may well wonder how Joyce Hatto achieved such unalloyed mastery and musicianship when tragically beset with ill-health. But others will surely celebrate an awe-inspiring triumph of mind over matter, of the indomitable nature of the human spirit.
But then came 15 February 2007, when Gramophone published this sad revelation on its website:
It would take many weeks of intensive work to examine all of the Hatto recordings, but it seems clear that at least some of these great performances are identical to other performances available from other recording companies.
According to Andrew Rose, who investigated the hoax for Gramophone, the list of CDs by other pianists plagiarised by Hatto (or plagiarised in her name by her record-producer husband) is growing every day, as enthusiasts track down the matching source material.
The cranky old men who populate rec.music.classical.recordings on Usenet have descended into even wilder name-calling than usual, with hilarious use of quotations of previous Hatto praise to deflate some of the more obnoxious resident egos.
More cogent discussions are being tracked at Iron Tongue of Midnight.
Opera Chic offers her typically pertinent observation on the scandal, being the first to call out Hatto’s “Jetsons-style” bouffant.
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Filler by Proxy XLVII: Great Drinker, Great Thinker
Tuesday 20 February 2007
The late, great James Tenney’s For Ann (rising) wins the inaugural Black Torrent Guard Most Annoying Song Tournament (found via Soho the Dog). Luckily, he includes an mp3 of the piece as well, but get it quick because I think it’s one of those temporary links.
For some reason I didn’t mention Tenney’s passing last year: he was one of the sharpest musical thinkers and composers of the latter part of the 20th century. He’s often pigeonholed as a musical version of a conceptual artist, but his music beautifully embodies his understanding of the nature and perception of sound and, in turn, his theoretical writings illuminate the ways in which we do and don’t “get” contemporary music, in ways that conventional talk of harmony and structure fails.
In one of the nerdiest seductions ever, I once turned a girlfriend on to the avant-garde by taking her to a performance of Tenney’s Having Never Written a Note for Percussion. (That piece is usually more of a knockout than the Sonic Youth performance in the link, but I like the way they take an idea and run with it.)
Some short pieces by Tenney are online at the CalArts site (Firefox users: dodgy website alert!) including the classic tape piece Collage #1 (“Blue Suede”). People’s memories of Tenney piled up at PostClassic.
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Also, the indices are almost up to date.
Saturday 17 February 2007
In case you tried to read this site last week and wondered whether I had trashed everything in a fit of blogger burnout, the answer is no. My kerazy web hosting service likes to keep things lively by randomly deleting my account from time to time, then reinstating it a few days later with a terse apology but no explanation. Suggestions for a less impetuous web host are welcome.
I’ve used the downtime productively by getting all fatalistic and not bothering to finish up the next article I was preparing. Meanwhile, at Sarsaparilla, an intelligent posting about language and erudition has descended into a discussion about people sticking inadvisable substances into various bodily orifices. You might enjoy that.
Filed under: Self-promotion by Ben.H
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Test your word power against a dead squirrel
Tuesday 13 February 2007
Future historians will wonder at the turn-of-the-century trait of people forwarding each other emails and web links containing allegedly humourous or entertaining material. I’m lucky enough to have friends who spare me, by and large, from this practice. Nonetheless, on a slow work day someone pointed me towards “33 Names of Things You Never Knew had Names”, one of a number of lists published on Canongate Books’ website to promote their publication The Book Of Lists.
If I wore a bow tie and/or lamented the occasional, elegant use of a terminal preposition, I would resent the assertion that I didn’t know these things have names, let alone that I didn’t know what those names all were. Instead I’ll put my brain where my mouth is and review a selection of the words, to see how many I do know, and even whether the list gets something wrong…
Aglet is the first word on the list. Feh! Anyone who reads Achewood or has done prison time knows this one.
Columella Nasi. I almost called this one wrong, misinterpreting the description as referring instead to that classic obscure body-part, the philtrum. Philtrum is an excellent word, naming an essential yet overlooked (literally) facial feature that is right under your very nose (again, literally); furthermore, it has a beautifully arbitrary etymology, and renders one of the definitions in The Meaning of Liff redundant. Columella Nasi is not excellent. Latin terms like these aren’t very impressive: they suggest you’ve merely boned up on a science book, rather than achieved the command of a wide-ranging vocabulary through a lifetime rich with variegated experience. It’s like saying “rattus norvegicus” when you could say “Siberian hamster”.
Hemidemisemiquaver. As a rough guide, there’s not much enjoyment to be had from a word if it’s useless for both Hangman and Scrabble. If you’re going to fill up your list with technical jargon, there are much better words to be had from the field of music, even starting with H, such as hocket, hemiola, and Hennessy.
Jarns, Nittles, Grawlix, and Quimp. They don’t give you any pictures of these to show precisely which is which, so here you go. Funnily enough, the font set linked above shows that a jarn is the same thing as an octothorpe, and there’s a character called a phosphene. The research behind this list is starting to look less than extensive. In case you were wondering, these terms were all coined by Mort Walker, who also invented the similarly useful word, briffit.
Keeper. The lamest name for the dullest definition. Even if they believe you, knowing this word is guaranteed not to impress anyone. Honestly, this sounds like something a five-year-old came up with.
Minimus. “The little finger or toe.” For names which are supposed to define amusingly specific things (see nef), this one is maddeningly vague. Pick one appendage and stick with it! I’m sure this word is responsible for at least one erroneous amputation.
Peen. What part of “ball-peen hammer” don’t you understand? Besides the “peen” part.
Purlicue. This is entering my personal lexicon immediately, and I shall never admit that I got it from a stupid list someone emailed me.
Rowel. This one came up on one of those forensic science dramas (the one where everything’s dark blue even though they’re in the middle of a desert) a while back, so along with dragées and ferrule I’ve got 8 out of 33 so far, while Douglas Adams has 0.
Zarf. I’m docking myself half a point for getting this one hopelessly wrong, thanks to a newspaper article I read years ago which asserted that the correct word for those cup-holders is swarf, derived from the large wood shavings that lathe operators used to wrap around their hot mugs of tea. It turns out that guy was confused and wrong, and so, in turn, was I. Swarf typically means fine shavings and filings, and zarf is an unrelated word of Arabic origin. I’m pretty sure I read my misinformation in a column in The Adelaide Review, so I’ll take comfort from blaming this on Christopher Pearson.
Any suggestions for better, more obscure nouns are more than welcome.
(Crossposted at Sarsaparilla.)
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Ugly Cooky
Sunday 11 February 2007
Pardon my French, but the new version of Blogger is a bloody disgrace. Above, on the left, you see the official portrait of this website’s patroness and muse, Ms Cooky La Moo, as she appears in the standard Blogger profile. On the right, the deformed and wretched travesty, like a mildew’d ear, of said portrait as displayed in the pop-up comments window in the new, “improved” Blogger. A bloody disgrace, I say.
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Filler by Proxy XLVI: London and Daisies
Saturday 10 February 2007
I like the idea of movies but usually don’t go to see any, which leaves me with a small, erratically selected pool of films to draw upon when I find myself in a conversation about cinema. Found more or less by chance, two bloggers have been writing more or less recently about two of my favourite films: Patrick Keiller’s London and Vera Chytilova’s Daisies.
Books and movies in which the city becomes a character have always touched a special something inside me, and London comes out on the top of this internal list. I’ve mentioned it in passing once or twice before: it’s the movie that convinced me that moving to London wouldn’t be a total loss, no matter what else happened.
The Measures Taken seizes upon some of Keiller’s ideas and cinematic techniques, as part of a description of his latest project:
It still feels like a peculiar gesture though, to follow these films with a project made up of around 60 films from the 1900s, which are then spun into a coherent narrative on the one hand, or on the other affixed to map of the world, with highlighted cities or streets taking you via a click to footage of that area in the first decade of the 20th century. We are in fairly Borges-like territory here, wheeling from Shanghai to New York to Liverpool, zeroing in on discrete streets with lunatic exactitude. It isn’t entirely clear what this project is…
I first saw Daisies while lying on my side, quite drunk, half on top of someone else, as it was projected onto a wall in a small bar down a backstreet somewhere in Melbourne, and have been infatuated with it ever since. “That film could only have been made in the 60s,” a friend once remarked after watching W.R.: Mysteries of the Organism. “People have never been so dirty in quite the same way.” Daisies has that same, ineffable quality, and the same cheerful anarchy to it, but is even less encumbered by theories – even countercultural ones.
It’s one of the few cultural artifacts I’ve seen built upon a presumption of abundance instead of scarcity, affirmatively blowing social and political dialectics away. The Pinocchio Theory gives us a more substantial appreciation of Daisies.
… manages to be both visceral and abstract, playful and savage, intellectual and infantile, all at once. Watching it last night, I was literally trembling with joy and exhilaration. I felt the same way when I first saw the film, nearly thirty years ago.
Found via sit down man, you’re a bloody tragedy, written by the same bloke who does The Measures Taken. It’s all like cellophane!
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The Patrick White Reading Group is back
Tuesday 6 February 2007
This time, reading The Solid Mandala. Starts 20 February. Everybody welcome. Won’t be joining in this time. Gone off White after Vivisector experience. Also no time for articles, pronouns, conjunctions, certain verbs.
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Hardest Way To Make Easy Living etc: Philip Glass at 70
Sunday 4 February 2007
On the occasion of his 70th birthday, Sequenza 21 is hosting a debate on whether Philip Glass is overrated or underrated. Part of the discussion has centred on why his later music seems to be so often driven by monetary more than artistic motives.
UbuWeb has both audio-only and video available for download of the Philip Glass episode of the 1975 series Music With Roots in the Aether, in which Glass, in a magnificent shirt, sits surrounded by small children eating pizza while being interviewed by Robert Ashley, in an even more magnificent shirt. The interview begins with Ashley speculating on why he hates children, before Glass explains his current financial situation.
Glass is equally lauded and derided as the most successful “real” composer alive, so it’s interesting to hear this thirty-eight-year old man reflect on just how far his career has gotten him to this point:
When we’re not being paid for concerts, we’re on unemployment. So that makes it, that’s the way things are now. Unemployment seems to have become a permanent fact of everybody’s life now…. We’re into the second year of unemployment….When we’re not getting paid a cheque for a rehearsal or concert, we get the unemployment. So if you figure it out, that comes to about, we get the maximum, which is 95 a week.
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Dusapin, Francesconi, Ferneyhough, and Kurtág; or Francesconi, Kurtág, Ferneyhough, and Dusapin; or Kurtág, Dusapin, Fransesconi, and Ferneyhough.
Wednesday 31 January 2007
After the interval, Irvine Arditti addressed the audience. “I gather that many of you haven’t the faintest idea what it is we’re playing.” He then added, “We often feel the same way.”
The program for the Arditti Quartet’s gig at Wigmore Hall last week claimed we would be hearing Dusapin, Francesconi, Ferneyhough, and Kurtág, in that order. Then, before the concert began, a silver-haired gentleman mounted the stage and announced that in fact we would be hearing the second piece first, the last piece second, the third piece where it was, and the first piece last. He then added, as an attempt at clarification, that this meant the running order was now Kurtág, Dusapin, Francesconi, and Ferneyhough. No, we said, after checking this against our programs, but the gentleman had already disappeared, leaving us to our confusion.
Interestingly, out of all the composers’ names, the one the locals had the most trouble pronouncing correctly was the Coventry-born Brian Ferneyhough.
I was glad I was too cheap to pay £3 for the program, seeing as it was useless for finding out what was playing when, and because I later learned that the notes for these compositions, by the composers themselves, were similarly confusing and unhelpful. They were in the much-parodied academic-speak beloved of the institutional avant-garde, who write everything as though it were a conference abstract.
Ferneyhough’s Fifth String Quartet is a “claustrophobic and marginally chaotic renegotiation of mutual priorities”; completely unlike his Second Quartet, which “realizes the projected possibility of a gradual coming together between objective coherence and receptive spontaneity”. Chalk and cheese, really. Both are significant advances over his earlier Sonatas for String Quartet, with its “dialectical tension between the elements with a deliberately rationalizing character and others of a more spontaneous gesture”.
I wonder if these types of program notes in today’s intellectual climate seem more quaint than alienating. This sort of hyperintellectual analysis doesn’t upset me as much as it does others: just about every artist is intellectually beholden to some personal philosophy that, on contact with the outside world, proves to be more or less bogus. Whether it’s poststructuralist discourse or catholicism, I don’t have to buy into the ideas that make a piece of music I enjoy listening to.
Oh yeah, the music was really nice. Contemporary classical music is alive and well etc. As Ferneyhough put it himself when discussing his Third String Quartet, “the multiplicity of values in the text rests on a coherent structuring procedure regulated by the relation between silence and eloquence. Such a postulate of art for art’s sake gives birth to a work that can only be conceived by self-reference: first in a metaphorical sense, but finally in a literal sense.” Which I take to be a particularly thorough way of saying: it is what it is.
What’s big in composition right now: sustained passages of rapid movement, played very quietly. Every new piece these days has to have at least one, it seems.
Wigmore Hall is Rock’n’Roll!
- One punter reeks of piss!
- Another punter reeks of stale booze!
- Yet another is swigging straight from their single-serve bottle of wine without using the glass provided!
Filed under: Music by Ben.H
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Filler by Proxy XLV: Grapple With It
Monday 29 January 2007
If there’s a reason my compulsive CD buying has stopped over the past 12 months, it’s because of sites like UbuWeb, the Other Minds Archive, WFMU and ANABlog making available all sorts of wild stuff I’d heard about, but never actually heard.
Lately ANABlog has been working through mini-retrospectives of music by underrated composers of the 20th Century (their latest project, Ben Johnston, is definitely worth a listen) but amongst all this they have uploaded George Harrison’s much maligned second solo album, Electronic Sound.
This is the album he made (or didn’t make, depending who you ask) entirely on his shiny new Moog synthesiser in a couple of days. I don’t know which is more surprising, that someone has bothered to upload an MP3 of this record, or that it was once issued as an 8-track cartridge.
If you’re at all curious, get it soon, because it won’t stay around for too long. (Short, shameful confession: I haven’t downloaded it because I bought a slightly battered 2nd-hand LP of it some 15 years ago.)
Also: Forget the Beatle! I just checked UbuWeb and they now have a collection of readings by Jas H. Duke. This is the guy who would have changed the history of poetry, if only (a) he wasn’t Australian, (b) the cultural custodians acknowledged his existence, and (c) he didn’t fall down the Melbourne General Post Office steps in 1992.
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Dalston Kingsland, North London Line, 6.00pm
Saturday 27 January 2007
You all racist, all of you, but you don’t know nothing! You not even white! You know the name they got for you? Caucus Asians! That’s what you are, you all Asians man. You ain’t even real Asian, you all dead man, you’re all caucuses, you’re dead bodies. You ain’t white, you dead. Caucus Asians!
Filed under: London by Ben.H
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Saturday Drones Club, Part 2: Stockhausen
Saturday 27 January 2007
“This piece goes for 70 minutes!” my friend groaned, looking through the program. After an hour or so of Phil Niblock’s drones at Sketch earlier in the day, we were at another free concert: a performance of Karlheinz Stockhausen’s 1968 composition Stimmung, in which six singers hold a single chord based on overtones of a low B-flat for the duration.
The piece is an excellent example of the combination of rigorous logic and loony inspiration that comprises much of Stockhausen’s music; its esoteric and irrational material harnessed by a meticulous design. Names of the days of the week, gods from religions around the world, and slightly goofy self-penned erotic poetry, are given means to be incorporated into designated rhythmic patterns at times decided upon by the singers, which in turn generate subtle harmonic combinations as these patterns are imitated or diverged from amongst the other singers.
Unlike the Niblock performance, there were no couches, drinks, or quiet conversation. The singers, three male, three female, sat around a table, facing each other, with microphones to provide slight amplification to better bring out the harmonics in the drones. We sat surrounding them, in hard plastic seats arranged in rings around the cavernous room. A small speaker in the centre of the floor softly played the low drone, to keep the singers in tune. Clearly this would have to be a meditative experience.
My only worry about going to this gig was whether the singers – a group called Intimate Voices, who all have non-music related day jobs – would be any good. Singing softly and holding the same pitch for long periods of time is not at all easy, and excessive deviations in intonation or loudness, or confusion in moving from one pattern to the next, could make the experience interminable. The performers have to learn a new singing style, and jointly work out their own structure for a coherent interpretation. It wasn’t surprising to learn this night was the culmination of 18 months of rehearsals.
I’ve heard the Singcircle recording of Stimmung, and this performance was a bit rougher, as you’d expect in a live setting. However, Intimate Voices gave an interpretation that showed more variety in atmosphere and attitude from one section to the next, unlike Singcircle’s consistently unruffled approach, even during the dirty poems. Intimate Voices’ interpretation was more episodic, with more pauses and breaks between sections: I’m not sure how acceptable this is to the composer. The electronic drone could still be faintly heard throughout the concert, which both filled the gaps in the singing and revealed when singers began to stray from correct intonation.
Despite these small issues, the singers in Intimate Voices made a subtly beautiful, flowing and well-shaped interpretation of Stockhausen’s score. The open form of the work meant that hearing other performances did nothing to prepare me for how the work would unfold, so it was very satisfying hearing the familiar elements arranged into a new form with its own dramatic sense. The visual aspects helped: watching the singers signalling to each other when they were introducing new material, and hearing how it was incorporated into the music.
My friend, who has taken singing lessons and sung in a number of choirs, appreciated the difficulties of the piece and liked the way the six singers kept it together, adding her own statement of approval: “That felt like only 50 minutes!”
A reproduction of the score, and a more detailed analysis of how it is constructed, is available here.
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Everybody thinks Tubby the Tuba; nobody ever thinks Ludwig the Tuba.
Wednesday 24 January 2007
In the bit of my Gubaidulina review where I ranted about how so many composers don’t know how to write music for certain instruments, so they just copy what some famous composer did before them (and so everything written for that instrument ends up sounding the same, and so everyone thinks that instrument always sounds the same…), I was referring to something Morton Feldman used to complain about. I forgot to mention it.
Kyle Gann has been discussing Feldman again on his blog, with two anecdotes I’d not heard before, regarding the need to be aware of how complicit you are in acceding to convention, be it social, historical, or personal. He doesn’t mention whether there is an intentional subtext about Jewish minds thinking alike.
Morton Feldman used to have a standard assignment that he gave his students: “Write a piece that goes against everything you believe.” He found that his students wrote their best pieces denying all their usual reflexes. (Sort of like the Seinfeld episode in which he decides, since everything he does turns out badly, that he’ll do the opposite of his reflex habits from now on – and it works.) Feldman also had a standing offer to buy dinner for the student who could come up with the worst orchestration – and no one ever won, because the more they worked to come up with bizarre instrument combinations, the more interesting the results.
Filed under: Music by Ben.H
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Saturday Drones Club, Part 1: Phill Niblock
Wednesday 24 January 2007
I swear that scoring free drinks at Sketch was only an afterthought when I went to the opening of Phill Niblock’s The Movement of People Working. The main reason was hearing and watching live performances of his music.
As far as anyone is concerned, Niblock does two things. First, he writes music which requires a solo musician to hold one note for as long as possible, over and over again, and then overdub that with more of the same, over and over again. A loud, dense drone, rich with shifting overtones, is produced.
Secondly, and this comes as a surprise to music-oriented people when going to see a performance of his music, he makes films of people around the world doing rigorous manual labour, and these are typically screened during his musical performances. At Sketch we were surrounded by people repairing boats, harvesting seaweed, dismembering carcases, making noodles, ploughing earth, flaying hides, winnowing grain, scavenging garbage.
The films are open to political, social and economic interpretations, but these considerations are subsumed within the prosaic documentation of people performing practiced, necessary actions, devoid of aesthetic artifice. If the juxtaposition of sound and image comment on each other, it is through the musician’s playing, stripped of expressive subjectivity, performing a disciplined series of tasks. The necessity of the work shown on film, however, is missing from the music. Largely, it appears that both appear together because they’re the two things Niblock does. The incompatibly impersonal approaches to the two media make film and music oddly neutral accompaniments to each other.
The square, high-ceilinged gallery at Sketch showed three videos projected high on each wall, showing randomly-selected sections from the hours of film Niblock has shot over two decades, above a pit of fashionable bohemian types busily networking and quaffing free pinot grigio. (“I’ve seen your website,” was the first piece of overheard conversation upon entering the room.) There was a palpable irony in the disconnect between the scenes in the lower and upper halves of the room; yet amongst the milling crowd – the muddled conversations, the drinking, the social climbing, the little group of small children, one wearing a strikingly painted helmet, who ran around and occasionally butted into the small bar, sending glasses flying – there were people at work: a couple of flustered drinks waiters trying to clear tables and keep the glasses intact, and in one corner a flautist and a guitarist alternately playing Niblock’s music, which filled up all available aural space in and around the crowd noise. They were doing their job, mostly ignored, and hopefully getting properly paid for it.
Later that day I went to a performance at Goldsmiths College of Stockhausen’s Stimmung, a large work for six voices singing harmonic overtones of a low B-flat for seventy minutes. Like the Niblock gig, it was free! But no booze. The write-up will have to wait until part 2, tomorrow.
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Will I regret not spending an hour travelling out to Croydon last night to pay 28 pounds to see Steven Seagal play guitar with his blues band?
Monday 22 January 2007
No.
