Train home review: Hollie Harding, Theories of Forgetting

Photograph: ‘linen006’ Thomas Jackson (Fine Artist)

Colin Alexander, cello

Heather Roche, clarinet

Eva Zöllner, accordion

LSO St Luke’s, London | 14 January 2023

For her LSO Jerwood Composer+ showcase event, Hollie Harding curated an elaborate event on the theme of memory, culminating in her thirty-minute piece for clarinet, accordion and cello, Theories of Forgetting. Six pieces were given from the stage – as well as Harding’s, these were Christophe Bertrand’s Dikha, Laurence Crane’s Riis, Joanna Bailie’s Trains, Johan Svensson’s double dubbing (firefly song) and Bent Sørensen’s Looking on Darkness. Two other pieces were projected around the staged events: pre-concert, Pauline Oliveros’s Mnemonics II could be heard in the hall, and during the interval James Saunders’ overlay (with transience) was playing in the bar, with a video by Harding. My first live concert of the year, it was certainly a beautiful evening, albeit a slightly perplexing one; I’ll come to that in a bit.

For now, the good and very good bits. Riis is probably my favourite piece of Crane’s and is always a joy to hear. This version (prepared for tonight) with accordion and sine tones instead of organ was wonderful: there was a beautiful tension between the accordion and sine tones, the former played almost completely still to match the clean lines of those long, shimmering chords. I could live in the first one forever. Crane himself was greeted with a roar of acclaim when he came to take his bow.

Svensson’s double dubbing was also great: and a new discovery – I didn’t know anything of his before this. I loved the use of piezo buzzers, which in light and sound resembled variously constellations of fireflies, alarm bells, a chirping hedge of fledgling sparrows, a beeping hospital ward and more. Clarinet and accordion played with and among them, threading, outlining, plotting, ornamenting. A really clever, really compelling piece.

Svensson’s piece highlighted another great aspect of Harding’s curation – the sensitive and active use of lighting in every piece. Harding took great care to ensure that this concert was more than a ragtag collection of pieces, but worked as a coherent whole; and in Alexander, Roche and Zöllner she had three outstanding players well able to meet its various challenges. Svensson’s was the only work in which lighting was prescribed, but in all five others St Luke’s ample and varied lighting rig (both onstage and overhead) was used extensively: I particularly liked the array of giant coloured foglamps around the stage and the first light of morning feeling captured at the beginning of Theories of Forgetting. The use of Oliveros and Saunders in the gaps around the concert came from a similar attention to detail, but these were less successful for me. Neither was especially audible over the typical pre- and mid-concert hubbub, and this was especially problematic for Saunders’ piece, which depends so much on slight variations in sounds and therefore close attention. That said, I would love to see this idea of adding interstitial pieces continued and made to work.

There was more to like, too. Joanna Bailie’s take on mixing field recordings and live instruments is always interesting; Trains is a particularly odd example that I need to spend more time with to really work out. Eleven recordings of trains are modified to create a kind of chromatic scale, against which a solo cello plays – first – selected pitches that subtly colour the recordings and then more involved interventions, including a long quote from the Gigue to Bach’s Cello Suite no. 5 in C minor. (Marked in the score: ‘It’s Bach!’) Why? Who knows, but it kind of works – the tonality of the Bach meets that of the train in some way; and one can interpret in it a connection to the concert’s theme of memory.

Dhika, by the late Bertrand, was a curious opener: its second half in particular lies on the gnarly end of the new music spectrum – almost uniquely so for this concert. I loved the first half, with its echoes and multiplications of the clarinet into sumptuous, lyrical textures, but the second (featuring a switch to bass clarinet) felt a little more like new-music-by-numbers and didn’t sit so well with what followed. Its closest counterpart was probably Bent Sørensen’s lovely solo accordion piece, Looking on Darkness – both pieces take a melancholy tone – but whereas Sørensen’s faded haltingly away, like the half-keyed notes at the ends of its phrases, Bertrand’s rose aggressively, attempting to conquer something rather than let it go.

The former was certainly closer to the spirit of Harding’s substantial Theories of Forgetting, which closed the concert. The piece began in a ‘voyage of self-archaeology’, combing through old Dictaphone recordings, cassette tapes, family photographs and other memories. These are treated across four movements that are quite self-contained, yet which add up to something a little more symphonic over the work’s thirty minutes. ‘Remnants’ revisits a harmonic process from a twelve-year-old composition, developing it in new ways; ‘Revolve’ turns to decaying Dictaphone recordings, with damaged fragments of teenage singing barely preserved on them and brought to new, jittery life by the live instruments; ‘Bijou’ remembers a favourite song of Hardings’ mother (presumably the Queen track of the same name, including grand Brian May-esque gestures); and ‘Afterness’, which passes all three movements through another round of remembering and erosion. Harding’s language is humble and attractive, and suits the generally warm nostalgic glow of her concept: the loss that accompanies forgetting is something to accept; she waves fondly as the objects and sounds of her childhood recede from view. Like the opening chord of Riis, it’s a very nice place to be. But it’s an ephemeral one too, lighter than air. In the end, although this was an evening filled with lovely things, I travelled home feeling slightly empty, the music itself already fading into memory.


Train home reviews: Riot Ensemble, ‘from dusk to dawn’, Kings Place

A fabulous concert at Kings Place last night by Riot Ensemble, crowned by a coda in memory of composer, singer and guitarist Alastair Putt. Putt’s Quincunx was commissioned by Riot in 2019 but because of the pandemic was only getting its premiere tonight, two months after Putt’s death. It is a really beautiful piece: intricate, clever, but light too; undogmatic and always surprising. Balanced somewhere between Britten and a hoedown (but much better than that makes it sound).

The big piece of the concert was David del Tredici’s Syzygy, sung by Sarah Dacey. Syzygy is a curious piece; there are some lovely moments, particularly in the first movement and at the start of the second, but it’s an oddly balanced work. I’m not sure it completely landed for me. Not because of the playing or singing, although one or two moments felt a shade uncertain. More that I wasn’t sure it was the right piece for this programme, or this venue.

Kings Place’s dry, detailed acoustic served much better the two pieces of the concert’s first half. Anna Korsun said she was nervous about how her Ulenflucht would sound – it was written for reverberant church acoustics – but being able to hear it all so precisely was magical; the dusk chorus effect of a circle of sounds emerging out of the hall itself was spellbinding, like being in a forest at twilight, with senses sharpened and all the accompanying mystery and terror.

But the star for me was Naomi Pinnock‘s (it looks like someone lived there), a setting – more a solution, really – of a line from Virginia Woolf’s To the Lighthouse. Listening, I could only think: this is what a Woolf setting should sound like. I wrote in my programme note – working just from the score – that the work’s opening alterations of notes and chords were ‘like the Woolfean swell of a wave’, but the piece captured much more than that: the surge and taper of Mrs Ramsay’s stream of consciousness; the distributed perspectives (achieved by the simplest of means, just one note for the voice and then the same one for the flute)’ the way that, in Woolf, the small things are big and the big things small, the slow things happen quickly and the quick things happen slowly. But then there was also a stilling, a farewell, that absolutely captured the atmosphere of the Ramsay’s decaying holiday home in Lighthouse‘s central section. Aaron Holloway-Nahum’s conducting, to sustain the momentum of this slow disintegration, was superbly controlled, but really the piece is a gift. ‘I don’t know how she does so much with … almost nothing’, he told me afterwards. ‘She’s a witch!’

Forthcoming on NMC – Rebecca Saunders: Skin

It is remarkable that Rebecca Saunders – by any measure one of the UK’s leading and most admired composers – has not yet been recorded by this country’s primary new music label, NMC (although her music has appeared on three discs by HCR, which are distributed through NMC). So the announcement of a first release this November is extremely welcome. Even more so is that it will feature one of Saunders’ finest recent works, the blistering Skin (2016), performed by its dedicatee, Juliet Fraser, with Klangforum Wien. Also on the recording is the double percussion concerto void, from 2014, performed by Christian Dierstein, Dirk Rothbrust and the Rundfunk-Sinfonieorchester Berlin conducted by Enno Poppe; and the 2017 string quartet Unbreathed, written for and performed by the Quatuor Diotima.

Here’s a short extract from Skin, a work that Paul Griffiths’ liner notes say ‘stretches its soprano protagonist across the feverishly alive body of instrumentalists. She is this music’s skin. Voice is this music’s skin.’ I await the full recording eagerly; release date is 18 November, be sure to check the NMC website for more details nearer the time.

The Music of Liza Lim: Chang-O Flies to the Moon

The third and last post in my short series of offcuts from The Music of Liza Lim, comes from the final chapter, ‘Music for the stage’. Lim’s second opera, Yuè Lìng Jié (Moon Spirit Feasting) is very high on my fantasy list of revivals. Its complexity makes that unlikely, and the particulars of its staging (with audience participation, perambulating musicians, etc, etc) mean that there is no full recording. However, its sixth scene, the soprano aria ‘Chang-O Flies to the Moon’ was recently released by HCR on the Singing in Tongues album of Lim’s theatre music, which made it possible for me to write about this at least. In the event, I wasn’t able to include all of my analysis of this scene in the book, which features instead a brief overview of Yuè Lìng Jié itself.

NB: For licensing reasons, I’ve chosen not to include any of the musical examples that would have appeared in the printed text. However, all Liza’s scores can be found on nkoda.

Yuè Lìng Jié (Moon Spirit Feasting) (1997–2000)

Yuè Lìng Jié was commissioned by the Telstra Adelaide Festival and was first performed there in March 2000 (it was staged five more times between 2002 and 2006 in Melbourne, Berlin, Zurich, Tokyo and Brisbane). It marks a peak in the exploration of Chinese culture and thought that runs through Lim’s music (and draws on her own Chinese heritage), beginning with Li Shang yin (1993) for soprano and fifteen instruments, through The Cauldron and The Alchemical Wedding, and on to later works such as The Quickening, The Compass, How Forests Think and The Su Song Star Map. It was written at the same time as Lim’s other major engagement with Chinese culture, Machine for Contacting the Dead, a double concerto for bass/contrabass clarinet and cello inspired by the fifth-century BC tomb of Marquis Yi of Zeng that was discovered in 1977 and is one of China’s most celebrated archaeological sites.[1]

The opera was written with the author Beth Yahp, like Lim another Asia-born Australian, whose Chinese-Thai parents moved to Australia from Malaysia in 1984. Her first novel, The Crocodile Fury, published in 1992, tells a story of Asian migrant experience in a world populated with ghosts and spirits. In preparation for writing the opera, the two women spent a fortnight in Malaysia researching Chinese opera, shamanic rituals and shadow puppet theatre in Kuala Lumpur and Penang. Of particular interest to them was the Hungry Ghost Festival, celebrated in the seventh month of the Chinese lunar calendar, during which spirits are believed to be released from hell to roam the earth and demand offerings, prayers and performances, and the opera’s staging draws heavily on Southeast Asian street festivals like this. In Adelaide, the set was constructed on a barge on the Torrens River; the musicians performed both on the stage and in a ‘shrine’ behind the audience. Audience participation was important, as was the inclusion of food stalls, the burning of incense and the decoration of the river bank with lights and religious offerings: the work’s performances were multi-sensory, festive occasions. Finally, the performance space was blessed by a Daoist priest prior to the first rehearsal.

There are four characters: the moon goddess Chang-O (soprano), the demon goddess Queen Mother of the West (dancing mezzo-soprano), the Archer Hou-Yi and the Monkey King (both performed by acrobatic baritone). The ensemble of nine instruments includes erhu, koto and two percussionists, the second of whom moves around the performance space. It was performed by Deborah Kayser, Melissa Madden Gray, Orren Tanabe and ELISION, conducted by Simon Hewett, directed by Michael Kantor and designed by Dorotka Sapinska.

Yuè Lìng Jié retells the story of Chang-O from a number of angles – a woman transformed into a goddess, a figure of nightmare, a wish-granting heavenly creature – and its seven scenes and two interludes draw on many Asian theatre traditions, including riddles, puppet shows, song contests and poetry. In the aria for soprano that constitutes Scene 6, Chang-O takes charge of her own story as she takes an elixir of immortality and completes her transformation. Her aria is accompanied by a striking quartet of bass flute, koto, cello and percussion (water gong, frame drum and yunluo or ‘cloud gong’), whose timbral profile resembles that of the Cassandra-quartet in The Oresteia. Lim’s technique of dynamic heterophony, developed in the mid-1990s, is markedly more evident here than it was in her first opera, and the music freely explores heterophonic relationships between voice and instruments.

The scene begins with soprano and cello on a pedal on D. Chang-O sings of herself in the third person, characterising herself as others have done before. As the music continues, soprano and cello explore in turn ways of enlarging the space around their pedal note, using changes in timbre and, a little later, melodic deviations that eventually dismantle this single perspective altogether. Although it is fully notated, the musical effect is like that in Bardo’i-thos-grol, as the musicians gradually carve out a sonic territory from a single point. Lim acknowledges the influence of the installation on her opera: its last pages (unfortunately not available on recording) are an attempt to recreate the sound of Deborah Kayser’s heart chakra ‘Song of compassion’.[2]

As Chang-O ascends, she begins singing in the first person. Interrupted by a chorus of police whistles – a representation of attempts to control and contain her story? – she continues regardless, drawing strength from the celestial birds around her: ‘I have your reason. / Your wishbone blazing / Alchemy of feathers / Wind-heart tremors’. Like the steps of an ascending staircase, the musicians maintain a string of gestures that appear to emerge from each other: as Chang-O’s words turn towards the second person and the support she receives from her environment, her song becomes heterophonically attuned to the accompanying ensemble. In bars 39–40, the cello’s D (the starting point established in the first section of the aria) becomes an upward, tremolo glissando; this is picked up by the bass flute as buzzing multiphonics around the pitches F♯ and C♯. Picked up by the voice, the first of these becomes a relatively pure, continuous tone – a temporary moment of stability and focus that is reinforced (in asynchronous rhythm) by the cello’s harmonic – before the flute initiates a multiphonic splitting of the F♯ (mirroring its figure from the previous bar) and then a melodic descent that is taken up in different ways by both voice and cello. Koto and then percussion enter a few bars later, but the relay of gestures and energies continues even as Earth falls further away (see bars 80–82).

In the next section Chang-O, singing along, reveals more of the (untold) details of her own immortal origins: ‘Before my blood and spirit fused / I was already burning / Womb ice wanting / Pregnant with fire’. The music is suitably chilling, the continuity of the previous section fractured into isolated, searching gestures.

For the final section, Chang-O returns to the D with which she began. Now it is a stage for new beginnings as, unaccompanied again, she sings a series of first-person affirmations: ‘I rise, I ripple, I reach, I resonate’. Each one is subtly word-painted, as in bars 107–14. From here to the end of the scene, sixteen bars later, the ensemble is silent, except for a delicate harmonic shading beneath ‘I resonate’.

With the last phrase of her aria, Chang-O rises from the D that has been her anchor throughout to a high A on the words ‘I embrace you’. In a programme note, Lim explains the role of Chinese grammar in this ending, and the aria overall. Although the pronouns ‘he’, ‘she’ and ‘it’ are distinguished in written Chinese, in the spoken form they are represented by the same syllable. (The written form of ‘she’ was only invented in the twentieth century, when Chinese writers first began translating European texts.) The shifts in pronoun that take place in ‘Chang-O Flies to the Moon’ are therefore significant to both Chang-O’s story and the emergence of female identity in Chinese culture. ‘The singing subject “she” transforms into “I” through to “you” until at the end “you” (her shadow presence) comes into an embrace and unity with “I”’. At the end of the aria, ‘the ensemble dissolves into silence leaving Chang-O singing alone, in an ecstatic opening up to the self’.

[1] The tomb is noted in particular for containing a large number of musical instruments, including a set of sixty-four bronze bells.

[2] Conversation with the author, August 2021.

The Music of Liza Lim is available to pre-order from Wildbird Music until 11 September, and will be more widely available after 12 September. See here for pricing, ordering and other details. I will be in Berlin on 11 September for a launch event at the Philharmonie supported by Musikfest Berlin in association with the Australian Embassy in Berlin. Come by if you are around and I will sign you a copy.

The Music of Liza Lim: Burning House

The second piece in my short series of bonus Liza Lim content is Burning House for singing koto player. This is a good example of Lim’s practice of working with the histories and ergonomics of individual instruments in her practice, and of her way of working with non-Western instruments. It’s a particularly interesting example, because the score is not written Western staff notation but in traditional calligraphic notation. It was one of the first pieces of Liza’s I became aware of, for this reason, although in actual fact it is relatively unusual in this respect (she has written one other piece using traditional notation, 16 Touches of the Zither for koto, which is performed as part of the installation Sonorous Bodies, made with the artist Judith Wright).

Burning House (1995)

Burning House, for voice and koto (one performer), was written for the Japanese-Australian koto and shamisen player Satsuki Odamura. A member of ELISION (she also performed in the first performance of Koto in 1994), Odamura has also commissioned nearly forty works for koto by Australian composers.

Lim frequently incorporates the ergonomics and performance histories of instruments into the music she writes for them. In Burning House, she goes one stage further, writing the music in traditional Japanese calligraphic koto notation. This is one of two works she has composed in this way; the other is Sixteen touches of the zither, also written for Odamura, written to be performed as part of the video installation Sonorous Body (1999), devised with the artist Judith Wright.

The example above shows the first page of the score (taken from Lim’s online notes for the piece). It is read in eight columns running top-to-bottom, right to left; the first column begins midway down the page. Each box represents one beat (equivalent to a crotchet); the horizontal line partway across these boxes divides them each into two quavers. The symbols within these spaces indicate, first of all, which string of the koto is to be plucked on that given quaver, according to its number, 1 being the lowest string (here tuned to the D below middle C) and 13 being the highest (here tuned to the E just over two octaves above). Empty spaces are equivalent to rests. Additional symbols indicate different playing techniques – all of which are found in or derived from traditional koto performance practice. These include raising the pitch by a semitone or tone (accomplished by pressing the string behind the bridge to increase its tension), vibrato, tremolo, and strikes or scrapes upon and along the strings using the plectrum. The voice part is indicated in a similar way, alongside the koto tablature, beginning in the fifth column from the right. The first column of music thus reads: strings 4 and 6 crotchet, 5 dotted crotchet, 5 quaver, 6 quaver, 4 quaver, beat and a half nothing, string 1 quaver leading to a semitone vibrato for the next two beats, and then a rest (the circle). In Lim’s tuning, string 4 is the B below middle C; 5 is C sharp, slightly flattened; and 6 is D, again slightly flattened. (NB these three strings are also prepared with Blu-Tack to create a ‘gong-like’ timbre.)

While it is not necessary to be able to read koto tablature in order to understand Lim’s composition, the impact of the notation on its style is clear. First of all, the graph-like tablature, with its rigid divisions into crotchets and quavers, resists the varied metrical subdivisions Lim usually favours. The fixed pitches of the koto’s strings (the semitone and tone pitch bends described above notwithstanding) also limit her usual preference for a density of chromatic and microtonal pitches.

Nevertheless, she finds ways to stretch and bend these constrictions. To add rhythmic variety, for example, she uses grace notes (there are several examples in the second column of the music, marked above and to the right of the main notes) and even triplets and quintuplets (see columns five and eight, where these are marked using Western phrase markings, aligned vertically, and Arabic numerals).

Yet Lim turns limitations to her advantage. Burning House is notably slower and more contemplative than many of her other compositions. She has said that since she wrote directly into the traditional notation, she gained a stronger feel for the time-space nature of the koto’s aesthetic because each note became an isolated object, written within its own box, rather than part of a larger, more abstracted notational hierarchy (as in Western music).[1] The frequent recycling of pitches through the use of open strings gives the music a particular harmonic field (compare the ending of Invisibility) and in the first part of the work at least encourages the repetition of certain motifs, in particular the C sharp–D–B motif from the first column, which may also be found at the start of the third and (in triplet crotchets) near the end of the eighth.

Burning House is in three parts, each setting a stanza by the Japanese poet Izumi Shikibu (?974–?1034). They are love poems but are also rich with references to the Lotus Sutra, and its message that although there may be different forms of Buddhist teaching, there remains only one Way. The title comes from a parable in which a father uses the promise of different toy carts (i.e. different Buddhist teachings) to draw his children out of a house that they do not realise is on fire; but when they are all out he gives them one large single cart (i.e. the Way) to carry them all.

In the first part, the instrumental introduction anticipates the rise of the poet, who is ‘Wakened by the scent / of flowering plum’.[2] The use of pregnant silences and shivering tremolos reflects the next two lines: ‘The darkness / of the spring night / fills me with longing’. The second part is short and features a retuning of eight of the koto’s strings (achieved by moving the bridge for each string). In this part, the first half of the text is spoken, ‘in a rapid, excited manner’, matching the poet’s words: ‘Come quickly – as soon as / these blossoms open. / they fall.’ The second half of this poem, ‘This world exists as a sheen of dew on flowers’, is sung in a somewhat chant-like fashion, with gasps at the end of each word, as though the declaratory nature of the verse is being broken up by the sense of wonder it captures. The third part introduces a new sound, an irregular strumming on the strings at the end of the koto (a little like plucking guitar strings behind the bridge). This dry, percussive sound evokes the rain of the third poem: ‘Should I leave this burning house / of ceaseless thought / and taste the pure rain’s / single truth / falling upon my skin’. In all three parts we can see, therefore, a degree of word-painting that is not always apparent in Lim’s music, and that perhaps reflects the immediacy and clarity of the poems she is setting, and the relative simplicity and spaciousness of the musical style that is encouraged by the traditional notation.

The Music of Liza Lim is available to pre-order from Wildbird Music until 11 September, and will be more widely available after 12 September. See here for pricing, ordering and other details. I will be in Berlin on 11 September for a launch event at the Philharmonie supported by Musikfest Berlin in association with the Australian Embassy in Berlin. Come by if you are around and I will sign you a copy.

[1] Email to the author, July 2021.

[2] Translation by Jane Hirshfield with Mariko Aratani, in The Ink Dark Moon: Love Poems by Ono no Komachi and Izumi Shikibu (Vintage Books, New York, 1990).

The Music of Liza Lim: The Weaver’s Knot

For reasons of space, a small number of work analyses had to be cut from the printed version of The Music of Liza Lim. I’m very happy, however, to be able to publish these online as sort of DVD extras.

First up is The Weaver’s Knot. Although this is a short piece, I wanted to include it in the chapter on chamber works because otherwise I wouldn’t be covering any of her string quartet music. Unfortunately, this wasn’t to be, and there is certainly a case for a future study of Lim’s quartet music: from the early Pompes funèbres, mentioned below, through Hell, the pivotal In the Shadow’s Light and up to her recent major work, String Creatures, for the JACK quartet, which was composed after I wrote the below and will receive its first performances around the time you read this post.

NB: For licensing reasons, I’ve chosen not to include any of the musical examples that would have appeared in the printed text. However, all Liza’s scores can be found on nkoda.

The Weaver’s Knot (2013–14)

In 1988 the renowned Arditti String Quartet gave a performance of Lim’s Pompes funèbres at the World Music Days in Hong Kong. It was one of her first international concerts. More than thirty years later she returned the compliment with The Weaver’s Knot, written for the Ardittis’ fortieth birthday celebrations in 2014. Despite her interest in solo string instruments, in particular violin and cello, music for string quartet features infrequently in Lim’s output: The Weaver’s Knot is a relatively short work, written for a special occasion; it is joined only by the withdrawn Pompes funèbres, the early Hell (also first performed by the Arditti Quartet) and In the Shadow’s Light. The Arditti Quartet gave its first performance at the Witten New Music Days.

Although The Weaver’s Knot is written for a standard string quartet, its music is inspired by the sounds of the Norwegian hardingfele, or Hardanger fiddle. The Hardanger fiddle, originating from the Hardanger region of southwestern Norway, is a traditional instrument, much like an orchestral violin but with the addition of four or five sympathetic strings running underneath the fingerboard. These give it a distinctive resonant sound whose character can be altered according to the tuning of both the main and sympathetic strings (more than twenty different tunings are found in Norwegian folk music). Although the instruments of The Weaver’s Knot do not have sympathetic strings, Lim applies a different scordatura to each of them to approximate that diversity of tone colour.

The Hardanger fiddle is clearly an instrument of some interest to Lim, and she has written music for it on two other occasions: in the solo Philtre (1997), which can also be played by violin, and in Winding Bodies: 3 Knots for alto flute, bass clarinet, piano, percussion, Hardanger fiddle, violin, viola, cello and double bass, written for the Norwegian Cikada Ensemble at the same time as The Weaver’s Knot. In the current piece, it is not the instrument as such but the way it is played that is the focus – in this respect, The Weaver’s Knot is related to both Koto and weaver-of-fictions before it. Of particular interest are the use of trills, drone pitches and left-hand pizzicati that feature in traditional Hardanger fiddle music: examples of Lim making use of all three of these can be seen at bars 15–16 and 35–6.

While it contains a number of familiar Lim sounds, The Weaver’s Knot is notable for its relative lack of noise of effects and its lyrical quality, born out of the extensive, high tessitura passagework, particularly for the upper instruments (often making use of harmonics), and the use of drones and pedal tones, which give the work a strong harmonic grounding.

Also known as a sheet bend, the ‘weaver’s knot’ is commonly used to securely tie lines together, particularly those under tension. It is used often in sailing but has also been used in textile manufacture for centuries, and in the creation of fishing nets as far back as Neolithic times. For Lim the image of the knot – a means of connecting and binding, the result of interweaving threads, or a way of encoding knowledge and memory – is obviously appealing, and it has value as a metaphor for the coalescing/unravelling push and pull of the dynamic heterophonic technique. These ideas are explored more extensively in Winding Bodies: 3 Knots, but they return too in later works, in particular the loops and gyres of Extinction Events and Dawn Chorus; looking back, we can see there is something ‘knot-like’ too about the crossing lines of the Viking runes that had earlier fascinated Lim, and the webs of connected timbres and instrumental relationships whose origins go back further still. Although it is a relatively minor work, The Weaver’s Knot draws together several important threads of Lim’s music; a knot in its own right.

The Music of Liza Lim is available to pre-order from Wildbird Music until 11 September, and will be more widely available after 12 September. See here for pricing, ordering and other details. I will be in Berlin on 11 September for a launch event at the Philharmonie supported by Musikfest Berlin in association with the Australian Embassy in Berlin. Come by if you are around and I will sign you a copy.

Introducing The Music of Liza Lim

In April 2020, I received an email from Brian Howard, director of the Australian publisher Wildbird Music. Wildbird wanted to produce a monograph on Liza Lim’s music to add to their Australian Composers series. Liza had recommended my name to him; would I like to write it?

This was just three weeks into the first Covid lockdown and life was still rather scary and uncertain. And here was the chance not only to work on a large-scale project, but also one involving an artist whose music is very important to me. In fact, a book on Liza had been in my mind as a possible project one day, I just hadn’t thought he might publish it. I waited a beat, then bit Brian’s hand off.

Quite quickly I got the book’s overall structure worked out. Brian wanted an introduction to Liza’s music that was detailed and focused on the scores, but also appealing to a student audience. Based on the other books in Wildbird’s series (on Nigel Butterley, Richard Meale, Peter Sculthorpe and Carl Vine), I settled on chapters for different performance forces (solo, chamber, vocal, orchestral, installation and stage music) and began drawing up lists of works that could be covered in each chapter, based on a general principle of trying to show as much range in Liza’s work and in the themes her music addresses. Each chapter would be chronological, and the whole book would grow in scale, from the short viola solo Amulet with which it begins, to the 2016 opera Tree of Codes with which it ends. As I wrote, I would try to add layers of understanding with each new piece. And that was all I needed to get started. Unusually for me, I wrote it from beginning to end, which I hope conveys some sense of discovery and exploration, as well as of a continuing thread (or bundle of threads), which is how I see Liza’s overall body of work.

Of course, there were some shifts and changes along the way: some of the running themes only became apparent midway through the project and had to be retrospectively inserted into earlier chapters. The chapter on installations moved several times before finding its final position. And, pertinently for this blog, analyses of three pieces were taken out of the book entirely, primarily for reasons of space.

On 11 September I will be in Berlin for Ensemblekollektiv Berlin’s performance of Liza’s Machine for Contacting the Dead, as well as works by Xenakis and Iannotta. This concert is also doubling up as a launch event for the book and beforehand, at 4:10pm, I will be interviewed by SWR’s Leonie Reinecke and will be doing some signings and what have you. The book is available for pre-order from Wildbird’s website until then.

Until then, I will be posting those three unused analyses as bonus content here over the next few days, starting on Friday with Liza’s short gift to the Arditti Quartet, The Weaver’s Knot. Stay tuned! And if you’re in Berlin on the 11th, come and say hi.

Kobe Van Cauwenberghe: Ghost Trance Septet Plays Anthony Braxton (CD review)

Anthony Braxton: Composition 255, Composition 358, Composition 193, Composition 264

Kobe Van Cauwenberghe, guitars, synths, voice; Frederik Sakham, bass, voice; Elisa Medinilla, piano; Niels Van Heertum, euphonium, trumpet; Steven Delannoye, tenor saxophone, bass clarinet; Anna Jalving, violin; and Teun Verbruggen, drums, percussion.

El Negocito Records ENR105

Beginning with this playlist, compiled deep in locked-down 2020, it has been something of a side project of mine to get to grips with the music of Anthony Braxton. Exactly two years on, I feel like I’m still only scratching the surface. For someone whose education and writing are so steeped in the author-work orthodoxy of Western art music, as mine are, Braxton’s music presents a number of challenges. (Those challenges are part of the reason for my interest, of course.) Among them is Braxton’s central role as performer and director of his own music. Braxton’s reputation is founded first on his saxophone and clarinet playing (he is still – as on the cover of Timo Hoyer’s recently published comprehensive overview – often pictured with one instrument or another to hand), and much of his discography features him as a performer. Often this has been forced by necessity: Braxton’s marginalisation by the art music establishment for much of his life required him to act as his own champion and impresario. For years, if he didn’t play his music, few others would. Nevertheless, the line between his different roles as composer and bandleader is a blurred one. This distinction is, to be sure, founded in a racially coded division between jazz and classical music, and in the different values the two respective genres (and the wider culture industry around them) place on writing and performing. But it does still heighten interest in recordings of Braxton’s music on which the composer himself is not present.

The Belgian guitarist Kobe Van Cauwenberghe has also been on a mission to explore Braxton’s music, although far more comprehensively and to much greater effect than I. In November 2020 he released an acclaimed solo album of three compositions in Braxton’s Ghost Trance Music (GTM) style (numbers 255, 284 and 358) on All That Dust. And a year later he brought a septet to Luxembourg’s Rainy Days festival to play Composition 255. A studio recording of this work, plus three other recordings with the same septet (Compositions 193, 264 and 358) make up this superb double LP. Braxton was in the audience in Luxembourg and, according to Hoyer’s somewhat effusive sleevenotes, ‘could hardly contain himself with emotion and excitement. Understandably so. I dare say he had never experienced his GTM concept from the listener’s perspective as varied, elaborate and fluid as on that day.’ My own view is that Van Cauwenberghe and his septet have redefined the landscape of Braxton recordings.

Ghost Trance Music is one of numerous compositional methods or styles Braxton has developed over the years, each of which adds new possibilities to his music while still accommodating those that have gone before (for a primer, see Seth Colter Walls’ introduction to Braxton’s compositional systems; for a deeper dive, see this article by Erica Dicker). Rather than moving episodically from one stylistic phase to another, Braxton’s career can be viewed as a tree or, better, as mycelium – a continually branching-converging network of threads that equally pushes forward and feeds back. Each compositional system is both spore, vessel and boring machine, offering ways of generating patches of this network, transiting through it, or cutting new paths across it. The GTM system – grounded in the Ghost Dance rituals by which the surviving fragments of decimated Native American populations pooled their knowledge and culture in the late nineteenth century in the face of colonial destruction – is one of the richest of these, and is the main focus of Van Cauwenberghe’s research. It is based around a form of endless melody, initially imagined in a steady, walking bass-type rhythm but later ornamented with complex rhythmic ‘breaks’ (irrational subdivisions of the beat). In Dicker’s analysis, this melody serves as a kind of musical highway, or ‘meta-road’, off which various diversions, off-ramps or intersections may be indicated, which the performer(s) may choose to follow (or not) according to Braxton’s suggestions. The system is designed, says Dricker, ‘to put the player in the driver’s seat, drawing his or her intentions into the navigation of the performance, determining the structure of the performance itself’.

Some of the diversions off the meta-road involve reference to secondary materials written on loose-leaf pages of score (a model of strict core and looser supplements somewhat like Ferneyhough’s Cassandra’s Dream Song, for example, although with a much wider range of freedoms and possibilities). Others involve the ‘language music’ that is one of Braxton’s first compositional systems – a set of twelve performance directives (trill every note, play legato melodies, play accented sustained notes, etc) indicated by graphic symbols. Still others involve tertiary or ‘outside’ materials, selected (prior to performance) from anywhere else in Braxton’s oeuvre. This may include primary melodies or secondary materials from any other GTM composition, or it might include material from any part of Braxton’s hundreds of other compositions. (The last section of Braxton’s tentet recording of Composition 286, from 2001, for example, features material from Composition 23A, first recorded on the seminal New York, Fall 1974 album.) As Dricker explains, over the eleven years that Braxton employed his GTM approach (between 1995 and 2006), he developed it in several ways, emphasising or de-emphasising different aspects, adding or substracting elements but always, in Braxton’s characteristic manner, with a view to increasing the music’s plurality and heterogeneity.

The collage approach – fundamental, I would say, to Braxton’s aesthetic – was developed in Braxton’s work with small ensembles, most notably his legendary quartet of the 80s and early 90s with Marilyn Crispell, Mark Dresser and Gerry Hemingway. It is documented in Graham Lock’s essential book, and on ferocious albums such as this. The fluidity of this music can be utterly thrilling, but if you are not familiar with at least some of Braxton’s other music, it can be hard to identify where the different collaged elements begin and end, and thus perceive the musical space in all its dimensions. In the meta-road approach of GTM, however, Braxton finds a sweet spot between freedom and control, between an easily identifiable foundation and easily identifiable diversion, without limiting the range or variety of those diversions (some of which are identified in Hoyer’s sleevenotes).

The four compositions on this album cover all four variations of the GTM style, from the simpler first phase of Composition 193, with its greater emphasis on the primary melody, no subdivisions of its regular pulse, and an emphasis on specified pitches in its secondary material (leading to a greater control of pitch overall); to the fourth, ‘accelerator class’, in which the primary melody beats are almost all subdivided or obscured (although still present on an intermediate level), and in which the melody moves through accelerating and decelerating waves; there are also fewer deviations from the primary melody indicated, although the melody itself is provided with numerous layers of colour, articulation and graphical elements that ensure that it is always different. Three, numbers 193, 255 and 358, have been recorded before – numbers 255 and 358 by Van Cauwenberghe himself on his solo recording. Number 264 appears to be given its first recording here.

In general, the septet’s playing is smoother than that of Braxton’s own groups: the staccato punch of the primary melody is less pronounced (it thus appears more as a continuous stream, albeit one whose contours are thoroughly unpredictable); the instrumental timbres are more blended (even though, paradoxically, they are often more diverse – compare Braxton’s sax duo version of 255 with Chris Jonas on GTM (Outpost) 2003). The septet’s renditions are also much more compact than Braxton’s, which can often – for my money – shade into indulgence. Whereas Braxton and his groups will often extend a composition to an hour or more, Van Cauwenberghe’s renditions (both in the septet and solo) all hover around the 20-minute mark.

None of this to say that these are compromised or limited performances. The septet’s playing – particularly its flexibility of idiom, from avant-garde to blues to hillbilly – equals or even exceeds anything I’ve heard in Braxton’s recordings (I’ve hardly heard them all, but for me Braxton ploughs more consistently a free jazz/modern compositional idiom than his music necessarily demands). A lot of that emerges simply from instrumental combinations within the group: more violin is going to sound more country, more drums and bass is going to sound more blues/funk. But Van Cauwenberghe’s players lean into those identities with a range of idiomatic rhythmic and articulatory nuances. Van Cauwenberghe repeats one of the tricks from his solo record by bringing in the funkily slinky Composition 40f in the last third of 255, but in the group setting it grooves that much harder; it has a counterpart in the post-bop central section of 264, in which Verbruggen, Medinilla and Sakham most clearly coalesce as a distinct rhythm section (only to tease themselves apart again within a minute or two).

The polystylism of some of the secondary and tertiary breakdowns – when the individual identities of the players come to the fore – are more Ives than Ives: melting and melding more than clashing. They are deliciously fluid, rippled through with energies of seven players continuously listening and adjusting to each other. There is the same unstoppable magmatic flow that is captured on the classic quartet recordings (Verbruggen’s skittering drums and Medinilla’s fistfuls of keys do a lot of work in capturing that mood), but there is also introspection, stillness, melancholy even, as in the slow breakdown into the central section of 193 or the Sciarrino-like glitter of 358. Newcomers to Braxton’s work may still wish to start with those quartet recordings, but for the sound of Braxton without himself at the helm, they will want to come here very soon after.

Eastman: Femenine (New Amsterdam)

What a joyful thing it is to encounter (while writing a short concert biog) Wild Up’s recording of Julius Eastman’s Femenine, released only three weeks ago on New Amsterdam Records. For a work that was almost entirely forgotten, by a composer barely emerging from myth, it seems remarkable that there are now at least four commercial recordings in existence (hear also: S.E.M. Ensemble’s 1974 recording on Frozen Reeds; Apartment House on another timbre; and ensemble 0 and Arum Grand Ensemble on sub rosa). This rendition, blossomed with instrumental solos (and arcing piano playing by Richard Valitutto reminiscent of the late ‘Blue’ Gene Tyranny), may be my favourite yet.

Haas: Solstices, Riot Ensemble, Kings Place

Last July I swam in the sea for the first time after five months of Covid-19 shielding and it felt like a benediction. The ending of Georg Friedrich Haas’s Solstices last night – as the lights rose on the Riot Ensemble sounding an immense, reverberating, crashing chord after more than an hour of total darkness – felt the same, but more so.

Solstices is an awkward piece. Parts of it verge on being boring (although there’s usually something unexpected around the corner). Other than the progression from one harmonic field to another, there isn’t much of a shape to its first two thirds. (After the first ‘cataclysmic event’ around, I guess, fifty minutes in, it does become more directional, and there is a steady increase in intensity until the final dissipation.) The fact that almost all of it is played in complete darkness adds a lot, certainly: last night the faint glow of Kings Place’s cooling spotlights overhead gave one a sense of floating in space. Another weightlessness comes from the combination of darkness and Haas’s microtonal trickery, which makes it difficult to tell each instrument apart, a marvellously disorienting effect. And some sections – such as the tentacular opening of overlapping, descending scales, seem to spill, Akira-like over the stage and into the space before us. Yet while it is exciting and novel, sitting in complete darkness for this long is hard work (wearing a mask makes it even more so), even without having to find your way around a piano keyboard or percussion set-up. Before every performance of Solstices the lights are brought down for two minutes to give everyone an idea of what to expect and a chance to bail out. This is a piece that asks a lot of its listeners.

But quickly Solstices established itself as just the right work for this moment. (The last live music I heard before Covid lockdown was Liza Lim’s Extinction Events and Dawn Chorus, played by the same ensemble in the same hall. Retrospectively that seemed about right too.) It’s a generous piece in that it doesn’t matter too much if you take a few minutes to get used to it; and after so long, we all needed that time to readjust our ears. Haas describes it as a love song (despite its title it has nothing to do with astronomy, but with the coincidence that he met his partner Mollena Haas-Williams on the winter solstice of 2013, and they married on the summer solstice of 2014), and it is full of moments in which players have to make connections with each other: notable in my memory is an early passage in which the guitar has to retune to the piano’s next microtonal harmony. Even in the dark it was possible to visualise the interaction of the two players, and vivid to hear the way in which the guitar’s notes drifted towards and then inexorably locked with and were embraced by the piano’s.

And then that ending … last night it was not so much breath-taking as breath-mugging, breath-dragged-into-an-unmarked-van never to be seen again. Much of the impact was due to the sheer joy of seeing live music once more – this absolutely is a piece that cannot be streamed – but this was simply the event that Solstices had occasioned. More of it was the sense of having gone through something together, making the work’s endurances and longeurs absolutely necessary.

After Solstices’ premiere at Reykjavik’s Dark Music Days festival in January 2019, Simon Cummings wrote that ‘Haas’ chords suggested plenty of waiting, the potential of light, though the light itself stubbornly failed to materialise. It begged the question: is the act of waiting more exciting than its fulfillment?’ And goodness me have we had to wait for this moment. It seemed ironic that after a sixteen-month break in seeing any live music, I’d chosen to wait another seventy minutes before I saw any musicians doing anything. But then the lights came up and we could see the flesh and sinew of these ten, brilliant players going at their instruments for all they were worth, and it seemed absolutely appropriate.