I’ve been out all week and my brain is fuzzy. Last Sunday it was to see Morphogenesis playing at Cafe Oto, for the first time since 2015 I think. This was touted as featuring the original members but Clive Hall had to drop out and was replaced by Jonathan Bohman. At least this time they were all in the same venue: for their previous gig Ron Briefel preferred to broadcast his part from his car parked out front. This could be taken as a sign that the group has mellowed with age, now that they’re approaching the end of their fourth sporadic decade; however their sound check consisted of them playing out on the street for about an hour, inviting passersby and musos from the matinee show to get amongst it with their equipment.
Their group improvisations, made with a plethora of random objects, electronics and digital/analog interference (also a piano), deftly elude the do-a-bit-of-everything-all-over-the-place performance style that such a setup usually invites and quickly gets tedious. They play with a wealth of detail while maintaining a coherence in mood that is achieved through group activity: each follows their own path without any pressing concern to defer to the others, a novel consensus achived through the simple expedient of letting everyone talk over each other. The gig broke into four distinct pieces, each heavier and more sharply defined than the last. It’s like eavesdropping on a group of awkward middle-aged nerds doggedly pursuing their particular passion: intriguing, colourful and even illuminating, even as you fail to understand the subject. I can relate, as someone trying to learn how to socialise again after an extended reclusiveness.
Back again on Tuesday for Lucy Railton’s long-deferred two evenings, mixing her interests in modern composition, electronics and cello improvisation. The improvisations grouped cello with voices and saxophone (Sharon Gal, Caroline Kraabel, Sophie Fetokaki) and with two basses, electric and acoustic (Farida Amadou and John Edwards). The former was sparse and pure to the point of excess, the latter blunt and busy. The two compositions were a new work by Catherine Lamb and Morton Feldman’s Patterns in a Chromatic Field. The Feldman is a sadistic piece, right out of the gate demanding melismas in harmonics from the cello and octave-leaping chords from the piano, all rapid, all pianissimo. Ten years ago in the same place I heard it played in the most gruelling of circumstances, so by comparison this occasion seemed deceptively benign. Railton and Joseph Houston played it in a plainspoken style, at a pace neither forced nor lugubrious. It was a demystifying performance, which favoured presenting variations in colour and tone over maintaining a single, ambiguous state, even offering moments of surprising brightness.
I didn’t catch the title of Catherine Lamb’s piece, if it was mentioned. It was born out of the two of them working together in Berlin, originally as a solo work for cello augmented by Lamb’s use of resonant spectral synthesis. On this occasion, it was played without electronics, with Lamb instead joining in as second musician on viola. At times I’ve found Lamb’s solo compositions for acoustic instruments excessively plain, but this was not the case here. For the viola part, she extrapolated the overtones implied in Railton’s playing, creating a sort of counter-melody that would emerge and disappear as a distinct entity. They played in relative tuning, Lamb basing her intonation on the harmonics of Railton’s pitch, a kind of sonic tightrope-walk that showed strength and resilience even as the apparent means of support were almost imperceptible.
For the rest of the week I was at the London Contemporary Music Festival, with additional excursions to Wigmore Hall for Apartment House playing John Cage. I’ll get around to these later, for my own sake. After seven days of live music, people and art-venue beers, it’s all been a little too much. In fact, I should be back at LCMF right now but the pull of a night in and a home-cooked meal is too strong. Doubtless I will regret it later.
