Two new(ish) tracks. The first is hollow yellow willow a piece written in the autumn for the BBC Philharmonic. The second is a very simple little remix of it that puts the electronic sounds centre stage (as I like them and they’re a little masked in the orchestral version).
Two decontamination concerts tomorrow evening in the RNCM Carole Nash Recital Room starting at 8pm featuring excellent performers and music. They’re going to be awesome and you should get your tickets here and come along.
I’m delighted to welcome back Aisha Orazbayeva to Decontamination after her performance of Bryn Harrison’s Receiving the approaching memory last year with Mark Knoop. I’m particularly happy that she’s sharing performances of these two composers; I have enjoyed the daring and debate of her interpretation of Telemann as well as vivid performances of Sciarrino. This is not the first time Kathryn Williams has performed Sciarrino at the RNCM however these two pieces, originally designed as a pair, are rarely performed as such because of the extraordinary physical demands of the former. For a performer obsessed with breath control and physical exercise with performance these form the perfect challenge. I’m delighted that she is including two pieces from her Coming up for air project, a creative and commissioning project of pieces limited to a single breath. Both have special connections to the RNCM; Josh Mock is a former Junior RNCM Student and current composer with the National Youth Orchesta of Great Britain. His piece was developed with Kathryn on their most recent residency. Mark Dyer is a current RNCM PhD student and his work on musical ruin, in this case off well known early 20th Century music for flute, fits perfectly into this short concert.
It’s always a little strange to have a concert of a single piece in a series that, for the most parts, looks at different musical/performance outcomes from comparable ideas and starting points. However in this case the juxtapositions seems built in; happy music, sad dance and a collaborative triangle of three performers (Matthew Shlomowitz, Aisha Orazbayeve and Shila Anaraki) in distinct roles asking and answering questions through music, speech and movement. I enjoy the unpretentious immediacy of pieces that wear their questions on their sleeves and the pieces that I know that take the form of lectures (for example pieces by Johannes Kreidler or Trond Reinholdtsen as well as others by/with Matthew) tend towards the exploratory, strange, approachable and fun.
In this short concert, violinist Aisha Orazbayeva and flautist Kathryn Williams perform solo music by Salvatore Sciarrino alongside radical interpretations of early music. Sciarrino’s often fleeting, fragmentary, inherently exploratory music that pushes instrumentalists to their limits is matched with early music imagined through extended techniques and maverick performance practice.
Let it all out – Joshua Mock
Come vengono prodotti gli incantesimi? – Salvatore Sciarrino Canzona di Ringraziamento – Salvatore Sciarrino Momento – Mark Dyer 1-3 from Six Caprices for violin – Salvatore Sciarrino 1 & 6 from 12 Fantasias for violin without bass – Georg Philipp Telemann
Aisha Orazbayeva (violin)
Kathryn Williams (flute)
Decontamination #13: Lecture about sad music and happy dance
The third of Matthew Shlomowitz’s provocative lecture pieces, Lecture About Sad Music and Happy Dance, is a collaboration between himself, dancer-choreographer Shila Anaraki and violinist Aisha Orazbayeva. He asks: How can abstract music and dance elicit emotional responses from audiences? What can evolutionary biology tell us about emotional reactions to art? Do the sonic qualities of sad music relate to the physical qualities of sad dance? How does the happy dance of France compare with the happy dance of Indonesia? What emotion does sadness plus surprise combine to make? Why do we want to see art that makes us feel sad, and why does sad art sometimes make us happy?
My new orchestral piece is now on iPlayer and will remain there for the next couple of weeks. It’s part of a show celebrating the New Music North West festival centred around the RNCM and University of Manchester. This show includes good things from current staff, student and alumni from these institutions performed by the BBC Philharmonic (conducted by Mark Heron) and Psappha.
If you want to hear my piece you can listen here (it’s first on in the show).
This is a piece written in the autumn about patterns and movement, tainted by sadness.
Thank you to Matthew Welton for letting me pinch three words from The Number Poems for the title.
Soundspace: Wonder Inn 30/10/2017 – Carmel Smickersgill, Stephen Morris, Adrian Wong and Johnathan Heyes
Ottis Enokido Lineham (conductor), Wei Ling Thong, Will McGahon, Izzy Baker (violins), Elizabeth Elliott (cello), Aidan Marsden, Callum Coomber (wine glasses)
Nam June Paik’s iconic 1962 Fluxus performance One for Solo Violin may be a reactionay destructive event (the sudden smashing of a violin), but it also hints at the possibilities of a creative and performance practice untethered from restrictive instrumental tradition. Each of the pieces in this concert address Paik’s implied question by inventing or modifying instruments or their performance practice. Amir Sadeghi Konjani’s prepared cello connects tubes to the strings with springs and creates a natural spatialised delay (for him, instrumental shadowing). Claudia Molitor’s installation (here as a short audio/video presentation) and Bofan Ma’s new work employ the score itself as an instrument, in both cases playing games with the
position of the score and the resultant sound. Artist and improviser Kelly Jayne Jones shares a new piece she has devised in collaboration with Gavin Osborn; ‘a partially structured interaction between amplified rocks and flute. A counterbalance between bedrock and breath and an investigation into the fragile yet monstrous power of the human animal’ . David Pocknee’s playful response to a string trio is to design new instruments with strings and plastic cups. Carmel Smickersgill collaborates with architects Stephen Morris, Adrian Wong and Johnathan Heyes to create a piece of music in which a building is a compositional agent. Eleanor Cully’s Fixations brings us full circle. As with the Paik these pieces address/undermine traditional performance practice and, also like the Paik, they are defined by their brevity; these are pieces that hint at elusive possibilities.
The questions raised by Fluxus artists about traditionalism and conservatism were not limited to compositional/performance/artistic practice. Questions relating to commercialism, elitism, sex, gender and race (to scratch the surface) were also confronted. It’s an easy provocation to raise this in the context of a concert at a British conservatoire. I don’t want to trivialise these issues through a token gesture but do want to explore work that aspires to greater equality as well as reflect on my own commitments for the Decontamination series. I’m happy that these issues seem so central to the conversation around new music at the moment and, happily, increasingly at the RNCM as well.
For me it is entirely humbling that such a diverse range of artists from all over the world (including experienced professionals and RNCM students) have given their time and energy just for the love of doing somethign worthwhile. I can’t wait.
Next week Kathryn Williams is performing her concert Coming up for air. This concert, preoccupied with breathing and breath, is being put on to raise some money for Help Musicians UK.
Last year Kathryn was in serious risk of having to rethink her career. A long-standing sinus problem aggravated by allergy and infection was making it increasingly painful and impractical to play the flute. She required an operation and had been on an NHS waiting list for over 18 months.
Help Musicians UK acted within a fortnight of Kathryn contacting them. They were warm, understanding and completely helpful. They paid for the operation which was done within a month. I am in awe of the efficiency of their system. I’m also aware that Kathryn’s is one story amongst many. In the music profession, where even relatively minor injury or illness can prove career damaging or ending, this charity is so important. In this uncertain political climate, an efficiently run charity that prioritises the wellbeing of musicians, regardless of genre, is essential.
You can make a donation to Help Musicians UK through Kathryn’s Coming up for air JustGiving page here. Please donate; they do good things.
The concert is at 1900 on the 7th of June at Islington Mill. Info here.
Rather excitingly the concert includes new pieces by a diverse bunch of composer friends including:
Decontamination continues on Monday with a concert of characteristically stark contrasts. Here the ‘pop up secular requiem’ Rest, by Emily Hall & Toby Litt is punctuated by music for instruments and noise by Peter Ablinger.
Emily and Toby’s Rest emerged as the third in a cycle of pieces dealing with love, birth and death. Toby talks about the sequence eloquently in this short trailer which also includes some extracts from the music (performed by Lady Maisery for whom it was written).
I was seduced by the trajectory of this sequence of songs. The first is conventional, beautiful and folk-like. The second retains all these qualities and crafts them into a large scale narrative. This third cycle, designed to be sung by professionals, amateurs or friends, is true chamber music. I’ve been hearing about the rehearsals in the singers’ house; this is as appropriate a platform for this music as any concert hall. When I first heard these songs I could hear how they might be comforting at times of loss.
I have chosen two selections of piece for instruments and noise by Peter Ablinger; some from Weiss/Weisslich 17 and the rest from the Instruments und Rauchen series. These two collections engage with elusive features of looking at and listening to music with the sound of the instruments embedded in, behind or alongside a veil of electronically produced noise; a kind of strange take on a live instrumental acousmatic music. Ablinger writes about Violine und Rauchen “Veronica”:
The first in the series of pieces for instruments and noise. A piece about complementary noise, about disappearing, about audibility.
The language of form in this pieces the composer sometimes decribes as “suprematistic” (after Melewitch), because of its use of “geometric” elements, like the surface, the line, the dot, which appear in sequences of a kind of “abstract” narration.