Mystifying Poetics

Added on by Douglas Farrand.

(also posted on the Music for Contemplation website here)

I had the pleasure of hearing Craig Shepard perform Wind Shadows, a piece by Alvin Lucier for trombone and sine-tones, at the Music for Contemplation series on April 10th 2015. 

"I wanted to write to say how wonderful it was to hear your performance of Wind Shadows on April 9th.  Very glad I was able to attend. I have been sitting with the sensation that really began immediately and so potently upon hearing the first 'swell' of the sine tones- and continued throughout the piece - of such a deep and mystifying poetics arising from such a basic, elemental, logical construction - such a distinct and clear identity arising immediately and without question from seemingly anonymous materials."

Alvin Lucier (L) with Craig Shepard. Photo by Beth O'Brien.

Alvin Lucier (L) with Craig Shepard. Photo by Beth O'Brien.

Montreal: Bozzini Quartet and Wandelweiser Ensemble

Added on by Douglas Farrand.
driving north, June 14th 2013

driving north, June 14th 2013

The Bozzini quartet and the Wandelweiser composers ensemble perform music by Michael Pisaro, Antoine Beuger, Jürg Frey, and Martin Arnold. June 15th 2013, Montreal. 

First ventures north of the border and an afternoon of three concerts, six pieces of music presented in pairs. A comment or two overheard at the end of the day marveled at the diversity of musics this group of composers produce- a long way from the never-really-accurate stereotype of vast swathes of silence occasionally in the liminal presence of a short, soft tone. To marvel at this diversity, however, is not to say that there wasn't a powerful impact made by the presentation of these pieces. Recalling a comment made by Michael Pisaro in early 2012, that his interest lies in what happens during a piece of music rather than how it begins or ends, each of the 6 pieces alone and in combination with each other offered a startling sense of brightness and assemblage, an opening or lifting of pressures and tensions one may well have never known were there otherwise, a series of impossibly nested universes rent open as an equally impossible, bright, mottled quilt. Each patch a different texture- a different grain- and yet clearly, somehow, each piece fits comfortably next to its neighbours- not even really following an underlying logic or thread- such tried and tested spatial metaphors don't quite speak clearly enough to the sense of belonging together.

asleep river bells chords by Michael Pisaro, a piece for an instrumental quartet with electronic playback, suggested two distinctly different projections moving across one another- a soft, instrumental chain of sustained sonorities, and a chaotic montage of field recordings and sine tones. The instrumentalists made their way through a series of chords over 25 minutes or so- an unfolding sonority increasingly revealed, transforming slightly, imperceptibly, over time, as if a shift in natural light. The carriage of the musicians and the pacing of these chords- such a gentle lifting- drew my attention to the pacing or perhaps scansion of the piece (both seem more appropriate words than 'rhythm'), and to the more gestural nature of the electronics part- a car driving by, panning from hard left to hard right, a bird taking off, the flutter of its wings transforming suddenly and shockingly into a complex upper register tone. The sense of acoustic depth created by these two layers became conceptually dynamic when considered in light of the title of the piece- a consideration of the ways in which the music moved through a series of meditations and investigations on each of the words.

If Pisaro's asleep river bells chords drew the ear outwards along lines and perspectives stretching away from the ensemble, an eminently horizontal music, Antoine Beuger's Méditations poétiques sur "quelque chose d'autre" drew the ear back, each performer a pillar, focused within themselves, mulling over a set of materials, reading, re-reading, playing, whistling, re-whistling. A translucent web of soft melodies and spoken french. In comparison with the recently released recording [1] of the same composition, the ensemble here did not shy away from relatively quick iterations of the notated melodies, rendering them at times as melodic fragments, suggesting perhaps a 'silky' quality, a slithery-ness not present in the recorded version (and a beautiful point of connection with Martin Arnold's piece to be performed later in the evening).

spoken word's from Frey's "Landschaft mit Wörten"

spoken word's from Frey's "Landschaft mit Wörten"

While Jürg Frey's Landschaft mit Wörten marked a substantial change in sound and behaviour, a strong connection could be made between the words spoken and printed (a single sheet of paper handed out for this concert featuring the list of words used in the tape part printed in the original german and translated into french [2]) and the function of the title in Michael Pisaro's piece. Both pieces quite distinct investigations of the use of words as beacons illuminating a musical environment, even an environment as minimal as the one conjured up here: Radu Malfatti playing very occasionally, one, two or three note patterns on a muted trombone alongside recorded playback of one or two word spoken statements. Strangely enough I found the words functioning as primary material, each utterance like a small keyhole through which one sees an image, hears a sound. Malfatti's soft trombone tones framed this activity, acted as a counterpoint, something to hold onto, like a recurring hum from a radiator under the window from which you are looking out across this terrain.

A mid-afternoon drop in energy made listening to Pisaro's Interference (6) difficult, I felt unable to follow the music on the level of detail that Pisaro's music so often asks of a listener. I do recall a vague sense, again, of panels drifting across each other (text, melodica, viola, sine tones) but without any strong sense of architecture (not surprising) or clarity of function, particularly regarding the spoken words (somewhat more surprising). All of this said- there was an atmosphere that accumulated over the piece's many similar iterations- an accumulation that uncannily identifies the music as written by Michael Pisaro- a simultaneous inclusiveness and resolve of trajectory that has become so familiar from more recent 'sound-chain' pieces (Fields have Ears 6The Middle of Life... [3]). Listening in difficult circumstances, but still undeniably an integral part of the day's quilt.

After a longer break the final concert was, again, a different affair, most immediately due to the obvious change in performance carriage as a result of the different notational and ensemble paradigms employed here. While the ensemble pieces on the two previous concerts featured ad-hoc groupings of members from both ensembles, these final two pieces featured the Bozzini quartet performing as a quartet, with the addition of Jürg Frey on clarinet for Martin Arnold's piece. My recollections of Arnold'sWaltz Organum are those of a particularly wild piece, a baffling two-part structure reminiscent of Walter Zimmermann's music, but perhaps a little darker, a little more neurotic. The twisting melodic lines, inside of which instruments seemed to be trying to hide from one another, formed knots and creases imbued with something more troubling, more critical, than the charming-and-awkward collisions found in some of Zimmermann's material and rhetoric (recalling Parasit/Paraklet [4] in particular).

Jürg Frey's Streichquartett 3 provided a compelling balance to Martin Arnold's piece, its chorale textures following Arnold's knotted polyphony along the same lines as my horizontal/vertical characterisation of the Pisaro and Beuger pieces earlier in the day. This string quartet struck me as a profoundly mature work- both difficult and clear, unforced and thoroughly complex. A slow uneven pulsing of soft chords- dissonances and consonances resolving in unexpected manners, various suspensions lingering, a passage of descending scales reminiscent of (Unbetitelt) Nr. 6, a passage of distant sonorities reminiscent of Streichquartett 2 [5]. An accomplished essay in simultaneous stasis and motion, "path" and "expanse" [6], a thorough folding and re-folding of a radical tonality and noise.




[1] Ensemble Dedalus performing works by Jürg Frey and Antoine Beuger, released on Potlatch records.
[2] English translation (roughly): grey water, pale blue, stone, place, light, wall, air, colourless clouds, breeze, ramblers, two minds, u, s, w, wind, heart, death, fortune, foliage, smile, a long view
[3] Both Fields have Ears 6 and The Middle of Life (die ganze Zeit) released on Gravity Wave records.
[4] A short piece for clarinet and string quartet- information here.
[5] Both of these pieces available on the Bozzini's recording of Frey's previous work for string quartet, released on the Wandelweiser record label. 
[6] "It may easily be that, at the end of a performance of static music that has remained motionless, the listener is in himself no longer where he started out – just as, conversely, directed, mobile music that lays a path need not always take the listener along on a journey." - Jürg Frey, And On It Went

Writing after Ultraschall

Added on by Douglas Farrand.

I was fortunate enough to spend the last two weeks of January 2013 in Berlin, attending a majority of concerts at the Ultraschall festival, and then some. The trip has resulted in, I think, some rather radical changes in my listening and has suggested a few fairly major questions to my composing and general thinking of music as a result.

The trip, organised through Oberlin Conservatory and lead by Josh Levine, had a website for updates and such that I have contributed a series of reflections to. The writing was primarily intended for a fairly general audience (interested parents, prospective students and the like) but covers some thoughts and ideas about much of the music we heard and the strangeness of attending, for the first time, such a state-funded new music festival (at first quite a motivating experience before the questions, doubts and problems of such a venture register). 

Friday January 18th: Late start for most. We were fortunate enough to sit in on the Deutsches Symphonie-Orchester Berlin rehearsing Chaya Czernowin's The Quiet, a short and- as we discussed with Chaya after the rehearsal, strikingly direct work consisting of various panels of soft sounds, overlapping in various ways and at various points, gradually becoming increasingly dense and more insistent as harsher noises and pitched sonorities were introduced, working itself into a sequence of forceful gestures before abruptly ending. A browsable copy of the score for The Quiet is available from the publisher's website.

First concert of the trip that evening took place in the beautiful if freezing cold St Elisabeth-Kirche. Responses to the programme were mixed- particular highlights for myself included the daringly proportioned piano solo in the middle of Pascal Dusapin's Trio Rombach for violin, cello and piano and a striking piano quartet by Christophe Bertrand, a recently deceased composer (only 29 years old at the time of his death) whose music was well represented throughout this years festival, which spun delicate textures out of simply deployed descending scales. While I found the other pieces on the concert distinctly less interesting, the ensemble- Kammerensemble Neue Musik Berlin- were thrilling to watch and listen to.

Saturday January 19th and Sunday January 20th: Still very much jet lagged, Jessie and I both slept in past our 10am discussion time on Saturday so can't report much on conversations surrounding the previous night's concert. On Sunday there were two string quartet + electronics concerts, the first featuring the diotima quartet, the second the arditti quartet. On the Saturday we were fortunate enough to attend a full afternoon of rehearsals with the arditti quartet working on the two pieces with electronics on their programme- a world premiere of a new piece by Joshua Fineberg and Georg Freidrich Haas' 7th string quartet. While much of the detail of the rehearsing was lost on us (these were final rehearsal stages, fixing/finessing details of electronics in the space more than rehearsing the music- a lot of quiet muttering in German, head scratching, etc.) it was very fruitful to hear these two pieces several times before the concerts on Sunday.

Its worth mentioning some of the specifics of Joshua Fineberg's piece, as it marks a first time collaboration between IRCAM and the Experimentalstudio des SWR, previously rival electroacoustic studios in France and Germany respectively. We also were able to talk with the composer in some detail about the piece over dinner before the orchestra concert. It is a distinctly strange work, in which the string quartet are sat towards the back of the stage, far from the audience, in rehearsal formation (forming a square facing each other rather than in the arc pictured below) and playing with heavy lead practice mutes such that the acoustic quartet cannot actually be heard during the piece. Instead what we hear is a series of virtual quartet sounds generated by the electronics via a process called (if memory serves me correctly) spectral envelope filtering or processing- which takes the stripped-down, basic sound of the muted string quartet and builds a huge variety of textures out of it. The trajectory of the piece is one of moving from relatively 'realistic' string quartet sounds towards far more alien sonic environments, corresponding to Fineberg's strong interest in nested fictions (an interest that is most clear in his opera Lolita). 

Saturday evening was the orchestra concert, featuring the Chaya Czernowin orchestra piece mentioned here. This also included pieces by Johannes Maria Staud (a very strange sequence of musics), Michael Jarrell (a largely uninspiring, flat work- although thinking back to it now perhaps something attractive about its slick- almost oily- surface), and an early piece by Georg Freidrich Haas, ...sodaß ich's hernach mit einem Blick gleichsam wei ein schönes Bild... im Geist übersehe for string orchestra from 1990/91. This latter piece was, aside from the Czernowin, the most interesting. A sequence of panels, some specifically directed and gestural, others creating fields of sound from an aleatoric implementation of a specific playing technique (a la Penderecki or Lutosławski), and one in particular quoting or in the style of Mozart (to whom the quote that makes up the title is attributed), becoming gradually blurred by sustained tones, creating a sort of veil of dissonance behind which the Mozart seems to continue.

Monday January 21st: Started the day off with a great conversation over breakfast, discussing our varying responses to virtuosity, cliche, 8-channel spatialisation, and other prominent and not so prominent aspects of the previous days string quartet and electronics concerts. Making our way to the Hans Eisler Hochschüle after a quick lunch we had the first of four sessions of discussions and masterclasses with Berlin-based composers. This first one was with Wolfgang Heiniger, a composer of electronic, computer, and chamber works with a distinct interest in theatricality, machines and the social situations surrounding the creation and presentation of music. The first two hours or so of our meeting with him consisted of group discussions of questions such as "what is music" and "what does a musician do" which lead into/overlapped with a fairly informal introduction of his music and interests. To list a few particularly characteristic points raised and discussed:

  • music as social act
  • the history of music as the history of technology
  • the history of electroacoustic music as the history of technology in the 20th century
  • correlations between the master-slave relationship and our contemporary relationship with machines - the topic of the liberation of machines
  • the musician as one who presents or reveals (zeigen auf Deutsch) - the object of their presenting/revealing being sound. 

The masterclasses were similarly fascinating, including a discussion of the nature of theatricality in Tony's voice + viola piece I don't know what I would do without you, resistance in notation in Jessie's I did not see it to the end, and notational paradigms in Elise's string quartet.

After vast quantities of sushi for dinner we attended a concert in the Volksbühne at Rosa-Luxemburg Platz featuring music by Karlheinz Stockhausen, Fabien Levy, and Christoph Ogiermann performed by the Neue Vocalsolisten Stuttgart. Having previously noticed the peculiarities of a state-funded new music festival (a concept totally alien to many of us, coming from the US) this concert, which fell on an important anniverary of the Élysée Treaty, really emphasised this aspect of Ultraschall, as the Fabien Levy piece, a lengthy work for 6 vocalists and 6 instrumentalists dealing with issues of guilt and forgiveness in the relationships between French and German intellectuals during and following world war II, was preceded by speeches by various German and French government officials, including the French minister of culture. Following the distinctly utopian late-period Stockhausen vocal work Menschen, Hört and Levy's piece, Ogiermann's aggressive, hyperactive piece for amplified voices and electronics was a daring programming choice- with the 6 vocalists surrounding the audience, shouting and occassionally screaming fragments of german texts - often disrupted and distorted by glitchy electronics, distorting any clear understanding of what was being said- the only clear statement occurring towards the end of the piece as the phrase "ich bin der Chef" ("I am the boss") was yelled aggressively for what felt like a short eternity. Viscerally disturbing music that prompted a lot of conversation over drinks that evening.

Thursday January 24th: bad currywurst for lunch in a dingy chain restaurant, followed by a lot of walking around Hackescher Markt. Jessie and I had a wonderful dinner at the historically significant and wonderfully hidden Tajikistani Tearoom.... calm, cheap, delicious, low tables, no shoes, usw.

Thursday's concert was definitely a highlight musically speaking. Expectations were low going in, as the Ensemble Modern are well known for their ensemble playing this concert of small chamber and solo pieces seemed somewhat amiss. It ended up being one of the strongest sets of performances as well as the most consistently interesting compositionally. Vito Žuraj's WARM UP for french horn and two percussionists was a thrillingly formless piece, turning slowly through an utterly unique soundscape of quiet, hyperactive material, finding its way to a beautiful coalescence at the end of the piece in the form of a short melodic unison between the horn and bowed vibraphones- the potential banality of the idea transcended in that this final tune only really registered once it had already passed and the piece was finished. Emmanuel Nunes's Aura for solo flute was a similarly exhausting piece, its rapid and varied twisting and turning contrasted with a few lengthy plateaus of flute and voice multiphonics.

Friday January 25th: A few of us up and out for a morning walk by about 9:30am. S-Bahn up to Brandenburger Tor and then a walk back down to the hostel through Tiergarten- a park situated in the middle of Berlin featuring some imposing monuments and statues, lots of trees, canals and small ponds, and supposedly a wild boar population. Coming out of the bottom of Tiergarten we walked past the back of the Philharmonie, home of the Berlin Philharmonic, and stumbled across a Richard Serra sculpture close to the site of a planned Aktion T4 memorial (Aktion T4 was a Nazi euthanasia programme focused primarily on those with physical and mental disabilities).

Full afternoon of Richard Barrett. First a two hour presentation on his recent work CONSTRUCTION (score pdf here, essay about the piece here), a mammoth evening long cycle of 20 pieces for voices, instruments and electronics. The presentation, lasting roughly as long as the piece itself, was a sort of guided tour of the trajectories arching over the entire piece, in terms of material transformations, following the evolution of the main themes of the piece- those of utopian visions on one hand and their confrontation with the realities of social and political organisation and change on the other- and the changing balance between composed music, improvised music and the various notation strategies used to access places imbetween. Following a break for coffee we returned to the Hans Eisler hochschüle for masterclasses, in which Kevin, Elise and I presented our pieces again.

Friday evening presented somewhat of a dilemma, on the one hand a 140 minute late Stockhausen solo piano cycle (itself from the larger cycle KLANG, a series of 24 chamber compositions that I think contains a lot of Stockhausen's most striking work) or a non-Ultraschall improvisation concert featuring Jonas Kocher, an accordion player who had played in Oberlin earlier during the Fall 2012 semester. We ultimately opted for the improv concert. The first and last sets, a solo cello realisation of a graphic score and a song, both performed by Nathan Bontrager (American musician recently relocated to Köln) and a cello and percussion duet by Noid and Michael Vorfeld were lively and engaging pieces of music. Nathan's playing covered an incredibly wide range of material, eventually coming together nicely as the quick shifts and changes of the cello improvisation functioned as a compellingly turbulent canvas for the more continuous song. Noid and Vorfeld played a good 30 minutes of hyperactive, scribbly improvisation, a beautifully balanced set with a subtle drive to it, that managed to hold this rattling, scratchy almost featureless landscape together. The real highlight, however, was Jonas Kocher's duet with electronics musician Gaudenz Badrutt- an intense and at times genuinely aggressive sound world was navigated with striking nuance and compositional subtlety- a real sense of construction to the piece that is rarely found (and perhaps rarely needed) in improvised music but that was pulled off superbly in this instance. Over a substantial duration (30 minutes? 40 minutes?) the piece was very much a series of swells between low-energy passages of sustained, grainy textures and high-energy plateaus of loud, complex, drones- but within this somewhat cliche'd schema the two musicians managed to maintain a series of complex, nested trajectories that meant there was always some sense of a forward momentum to hold onto- further more each plateau was situated in a slightly different space, each type of section moving along its own path as the piece progressed.

Its perhaps also worth pointing out that the Stockhausen and this improv concert were not the only things going on in Berlin this Friday. There were on the echzeit calendar alone 4 or 5 other gigs. This is another quite baffling fact about Berlin- that there can be so many composers, musicians, etc. and that, frequently, the various 'scenes' seem to be in many ways quite discrete. Even within concerts at Ultraschall, some evenings attract a certain crowd, certain faces that you remember, many of whom are themselves composers or musicians, and other evenings attract entirely different crowds, also mostly consisting of artists of various kinds- but an entirely different subset.

Saturday January 26th: Last full concert day today. Very long afternoon, three "piano+" concerts featuring trio catch- an impressive and very young piano cello clarinet ensemble, and one of several all or mostly female ensembles represented in the festival.

piano+ 1, 3pm: Only managed to catch the second half of the concert, featuring two works by Xenakis and one by Jörg Widmann. I have little to no memory of Widmann's piece, other than that I enjoyed it quite a bit. The two Xenakis pieces were thrilling to hear live. Paille in the wind from 1992 is a striking miniature, belongs to a certain category of Xenakis works that maintain the visceral intensity that he is so well known for despite being materially seemingly quite distant from his most well known works. Simple in both form and material, large block chords in the piano and a strained, plaintive line in the cello, simple enough that it doesn't quite come across as solo and accompaniment. Something quite brutal about its bareness. Charisma for clarinet and cello I remember as moving through a series of durations of various grains and consistencies.

piano+ 2, 5pm: A challenging marathon of listening, Arnold Schönberg's complete solo piano repertoire, each set of pieces interspersed with a selection from Lei Liang's My Windows. At points totally compelling, particularly the beginning of Fünf Klavierstücke op. 23, but inevitably draining and largely characterised by struggling to maintain the attention these pieces require, regardless of how compelling the performance was. This was followed by a very quiet clarinet cello piano piece by Beat Furrer and a strange set of two miniatures by Franco Donatoni.

piano+ 3, 7pm: By this point totally drained and very hungry. What I'm sure was quite a beautiful song by Aribert Reimann slipped by, at which point my hunger developed into a tangible hatred for the long, subtle and incredibly quiet trio ... als 1... by Mark Andre, before turning into a neutral apathy- waiting for food- during the final Aperghis piece. Alas.

Definitely a more stomachable presentation of so much music than had it been lumped into a single 6 hour concert. Very much enjoyed hearing trio catch play, and the Schönberg marathon was an interesting listening experience- but ultimately proved to be too much at the end of 10 days of almost constant live music listening.

music we'd like to hear 2012 (ii)

Added on by Douglas Farrand.
Jürg Frey instrumentation

Jürg Frey instrumentation

at the end of a long summer, some collected thoughts on music we'd like to hear 2012 (II)

--

A curious sense of assemblage to both location and music performed- I get the sense that everyone's first music-we'd-like-to-hear experience becomes tightly bound with the memory of St. Annes+Agnes- many moments of collision, coagulation. Coincidence and construction in equal measure. Two narrow and focused sonic landscapes bookending a variety of topologies for which the nets were thrown a little wider.

Pat Allison's Cha-Cha(anoga) - elegant in its almost immediate apparentness - a simple yet vivid introduction to the space as three clicks on various pieces of wood follow each other around the room. And yet despite the relatively narrow pallette of sounds (all wooden clicks, some dull some sharp, varying degrees of resonance) a sense of assemblage retained- scattered objects participating in the construction of an environment, adhering to a normative distribution and interaction- the piece really made by a few special moments- a few orientations that draw the ear- the most striking of which occured at the beginning of the piece, after the composer had initiated the start of the concert with a few regularly spaced solo iterations, a sudden dovetailing as Ben Isaacs, standing a few feet away, entered, followed by someone on the other side of the room. A shockingly rapid expansion of space, suitably striking and strange introduction to the concert.

--

"Kunsu Shim's 'Happy for no reason' could be said to be an archetypal 'edges' work in that it allows freedom, feels open, but also, through its defined parameters, enables a level of group interaction in which no-one dominates and everyone is surprised."


A wonderful construction- in two parts of seemingly equal duration- in both instances (happily, it seemed) failing to live up to the programme note. A sense of discomfort with what I'm assuming are the defined parameters of the first section- a haphazard spattering of single, loud, course sounds- the ensemble completely dominated by the violent kicking around of a metal bucket- a more sustained activity that via its drama and potential hazard to the furniture and floor of the church distracted from any sense of space or musical becoming that might have arisen from the rest of the ensemble. The second half a beautifully thick low register drone from most of the ensemble- it seemed as if it only occupied the lower half of the room, settling on the floor like a thick carpet of moss- while the bucket-abuser took to slowly encircling the audience while unravelling a roll of packing tape- crackling intensely as it came off the roll and was stuck to pillars and pews. A similarly dominant activity that this time did allow for a degree of disinterested listening- a really very delicate division of the space that came to an end as the tape-player arrived back at his point of origin- a sonic and visual tapering.

page from the score for Taylan Susam's "for maaike schoorel"

page from the score for Taylan Susam's "for maaike schoorel"

Taylan Susam- for maaike schoorel  - sonic material clearly and boldly etched into the silence of the church, a far stretch from maaike schoorel's world of "soft, barely perceptible tones images etc." Left with the sense that the score would be more easily rendered by a smaller ensemble. That said the result here was particularly beautiful - islands of hocketed, melodic activity occasionally connected by a single sustaining (and much quieter) tone (very exciting that this was, at least according to memory, always the same musician)...

Michael Pisaro's fields have ears (4) - an expansive centrepiece - the ensemble alternately sounding and not sounding- sustained or gently iterative sounds- a vast flatness periodically revealed. Little more to say- or remember- other than a sense of the immense complexity arising out of a realisation of this piece with so many performers. A transition (the notion of transition, change) articulated so singularly in the score [in a way, the generative kernel of the piece], but that becomes in no way a belaboured point of the realisation: the many small changes, many small shifts, distracting- providing a mottled surface that allows the piece to unfold just below the limits of conscious perception.

--

The challenges posed by a performance of Manfred Werder's 2008(1) (the "orchestral" score discussed in Tim Parkinson's interview of Werder, available on youtube) seems to lie more in finding an appropriate performance context than the challenges posed to any one musician having to decide what exactly to do. The piece was hurried in and out, it seemed in an attempt to have it occur before the audience had a chance to collect itself post-intermission.

--

Joseph Kudirka's British Creepy Crawlies - a synthesis of sorts of all that had come before. A clarity of construction not far removed from Cha-Cha, a lasting resonance of the joyful crudity that had characterised Happy for no reason, a clustering/phrasing reminiscent of for maaike schoorel, and an expansive treatment of time, a vastness closer to Pisaro's field than Susam's miniatures or Shim's bifurcation.

--

Almost marking a coda of sorts- a complete departure. For Tim Parkinson's songs for many the orchestral instrumental variety and hocketed/dove-tailed textures are dispensed with in favour of two ensembles- one shouting loudly, reminiscent of some of Chris Newman's songs (crude oscillation between two registers), the other striking found percussion instruments to a rhythmic unison, its patterns playful and frequently disrupted as seems characteristic of a lot of Parkinson's percussion/auxhillary oriented music. This stomping and shouting gives way to sustained yelling and found bells before the striking use of a chorus of whistles (deafening) and low drones (string instruments and plastic pipes) from the instrumentalists.

a page from the score for Jürg Frey's "Un champ de tendresse parsemé d'adieux"

a page from the score for Jürg Frey's "Un champ de tendresse parsemé d'adieux"

A long fade- Jürg Frey's distinctly nocturnal soundscape- Un champ de tendresse parsemé d'adieux- dry leaves and (very) small stones dropped to the floor occasionally. The introduction of quiet, descending whistles after lets say 10 minutes or so- on occasion amassing into haunting, modulated sonorities. Ears lead around the church once again (much more slowly and softly than Allison's Cha-Cha) and then outside to the similar sonic activities of aeroplanes descending towards Heathrow.




July 12th-August 31st.

photographs from the musicwe'd liketohear facebook page